Full text of "The International annual of Anthony's photographic bulletin and ..., Volume 12"

See other formats

This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project
to make the world's books discoverable online.

It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject
to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books
are our gateways to the past, representing a wealth of history, culture and knowledge that's often difficult to discover.

Marks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book's long journey from the
publisher to a library and finally to you.

Usage guidelines

Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. Public domain books belong to the
public and we are merely their custodians. Nevertheless, this work is expensive, so in order to keep providing this resource, we have taken steps to
prevent abuse by commercial parties, including placing technical restrictions on automated querying.

We also ask that you:

+ Make non-commercial use of the files We designed Google Book Search for use by individuals, and we request that you use these files for
personal, non-commercial purposes.

+ Refrain from automated querying Do not send automated queries of any sort to Google's system: If you are conducting research on machine
translation, optical character recognition or other areas where access to a large amount of text is helpful, please contact us. We encourage the
use of public domain materials for these purposes and may be able to help.

+ Maintain attribution The Google "watermark" you see on each file is essential for informing people about this project and helping them find
additional materials through Google Book Search. Please do not remove it.

+ Keep it legal Whatever your use, remember that you are responsible for ensuring that what you are doing is legal. Do not assume that just
because we believe a book is in the public domain for users in the United States, that the work is also in the public domain for users in other
countries. Whether a book is still in copyright varies from country to country, and we can't offer guidance on whether any specific use of
any specific book is allowed. Please do not assume that a book's appearance in Google Book Search means it can be used in any manner
anywhere in the world. Copyright infringement liability can be quite severe.

About Google Book Search

Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers
discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web

at |http : //books . google . com/

rLLdBB A

~1EIA — ( f, nf (f-i / 7-

TSANSFERRED TO

Harvard College
Library

V '<^^

By Exchange

FINE ARTS LIBRARY

Digitized by

Google

">-.

-r ,

Digitized by

Google

Digitized by

Google

XCbe International Hnnual

HntboniP's
Ipbotograpblc Bulletin

an&

Hmerlcan Ip^rocess Iffear^Booh

VOLUME XII FDR igoo

Edited by
W, L SCAN DUN

PlIBIISHERS
NEW YORK
E. dr- H. T. ANTHONY 6- CO. LONDON

Sgi Broadway PJ^l^C V L UND, HUMPHRIES

&> CO., Ltd.
CHICAGO ^ Amen Corner.

E ^ H T. ANTHONY ^ CO. Bradford. The Country Press

4^-4y-4g East Randolph St.

Digitized by

Google

NMivAiH) courac imkwt

BY EXCHANGE

JUN 26 1939

PRESS OF ANDREW H. KELLOOQ,
409-415 PEARL ST., NEW YORK, N. Y.

Digitized by

Google

•.;-»^.<2

PREFACE

IN placing the Twelfth Volume of the International Annual
before the public, we would extend our hearty thanks to its
many friends, old and new, who by their generous co-operation
in the contribution of articles and illustrations have made its
production possible. The preparation and compilation of material
so cheerfully provided is a pleasant task, and one that brings us
into close fellowship with each other. It has been our aim to make
the present volume as perfect in its technical execution as possible,
that it may stand as an example of good book-making throughout.
Our thanks are due to our publishers for their liberal policy and
support toward this end.

The Editor.
New York, November, 1899.

Digitized by

Google

Digitized by

Google

INDEX TO ADVERTISERS

I»AOB

Acme Transparent Water Color Co 55

Actien-Gesellschaft, etc 1 1

Air Brush Mfg. Co 86

American Aristotype Company .... 45, outside back cover

Art Engraving Co 17

Autocopyist Co 19

Baltimore Engraving Co 36

Barnes-Crosby Engraving Co 50

Beck Engraving Co 49

Blanchet Freres & Kleber 13

Blomgren Bros. & Co 83

Burke & James 64

Butts & Adams 10

Camera Exchange 58

Carbutt, John 34-35

Chicago Photo Finishing Co 30

Coe, Aimer 57

Collins Mfg. Co., A. M 61

Cooper, Chas. & Co 66

Cramer D. P. Co 84

Dallmeyer, Ltd. inside covers

Danforth, M. E 65

Davis, Edwin 48

Decker & Co., John F 53

Diller, Peter 6

Eastman Kodak Co 8-9

Electric City Engraving Co 80

Electro Light Engraving Co 30

Digitized by

Google

Page

Fair, The 57

Flinsch, F 14

Fuller & Co., Geo. H 24

Gage & Sons, Wm. C 65

Gatchell & Manning 21

Gennert, G 74-77

Gill Engraving Co 57

Goerz, C. P 67

Golsen, Ralph J 6

Good, Martin G 7

Gundlach Optical Co 81

Haller-Kemper Co 12

Hammer Co., D. P 88

Higgins & Co., CM 38

Hodges, O. W 62

Horgan, Robey & Co 2^

Houser, V. C 80

Hyatt, H. A 52

Illinois Engraving Co 36

Levy, Max 28

Manz & Co., J 46

Mellen, Geo. E 33

National Photo Eng. Co 10

Nepera Chemical Co 82

New York Dry Plate Co 63

Parisian Novelty Co 53

Patterson & Shimmin 32

Photograms 31

Photography 18

Puttmann, Paul 25

Ross, Limited 41*44

Rough and Caldwell 3

Royle & Sons, John 7

Schering & Glatz 47

Digitized by

Google

Page

Schindler, C. A i6

Seed Dry Plate Co., M. A 32

Sleight & Nelson Co., The 62

Stereopticon and Film Exchange 2

Suffolk Engraving Co 49

Teach inor-Bartberger Eng. Co 2

Vive Camera Co S3

Voigtlander & Son Optical Co 39

Walker & Co., E. R 49

Western Camera Mfg. Co 54

Western Engraving Co 12

White, O. C 79

Williamson-Haffner Engraving Co 19

Willis & Clements 40

Woodard, Clarke & Co 16

vll

Digitized by

Google

Digitized by

Google

INDEX TO SUBJECTS

Page

A Chat About Lenses, by Frederick Thomas Bennett ... 56

Action of Light on Silver Chloride, by Romyn Hitchcock . 60
A Hand Camera on a Pilgrimage, With, by Miss Adelaide

Skeel, 32

A Hint to Beginners, by Frederic G. P. Benson 98

A Lantern Slide Process of Twenty Years Ago, by H. Picker-
ing 116

A Lost Opportunity, by James B. Carrington 143

Ammonium Persulphate, Notes on, by Newton W. Emmens . 68

An Abbey Gate-House in Lindsey, by T. Perkins .... 50

Aniline Colors for Transparencies, by P. C. Duchochois . . 179

A Novel Combination Shutter, by Actinic loi

Architectural Detail, Photographing, by Robert J. Hillier . . 14

Architectural Work, by Fred W. Pilditch 113

Beginners, A Hint to, by Frederic G. P. Benson .... 98

Best Platinum Process, The, by J. Joe 137

Bromide Paper, Method of Using, by Henry F. Raess ... 47

Bromide Paper, Toning, by H. Hands 154

Camera a Collector of Data, The, by E. G. Tabor . . . . 131

Camera in Japan, The, by Charles M. Taylor, Jr 36

Camp Camera, by Maximilian Toch 152

Charles Readers Birthplace, by S. E. Keif 148

Chasing a Prairie Fire, by C. N. Whittaker 171

Data, the Camera a Collector of, by E. G. Tabor . . . . 131

Developers, by E. O. Cockayne 125

Development, Local, by Osborne L Yellott 93

Development of Negatives 224

Digitized by

Google

Paqb

Distorted Pictures, by Robert H. Bow i66

Dry Plates, Stability of, by Charles E. Fairman . . . 156

Effects of Focal Length, The, by Chapman Jones .... 59

Epichlorhydrin for Negative Varnishes, by E. Valenta . 118

Evil of Price Cutting, The, by E. S. Kibbe 9

Experimentation, by E. L. Bowlus i

Exposure, Multiple, by Robert M. Reevs 106

Flash-lights, by H. Crisp 43

Flowers, Photographing, by James Shepard 39

Focal Length, Effects of, by Chapman Jones 59

Focusing Cloth, That, by C. H. Bothamley 54

Focusing Screen, A Method for Plumbing, by C. W. Canfield, 154

Front Grounds, by Abraham Bogardus 26

Gain or Loss, by C. H. Cox 6

Ghosts, Photographic, by C. B. Talbot 167

Halation, by J. H. Harvey 150

Halo and Means of Avoiding it, by Charles Gravier . . 175

Hand Camera Notes, by Martin J. Harding 90

Hanging of Pictures, The, by F. C. Lambert 25

Hawthorne's " Village by the Sea," by Walter Sprange . . 64

Impersonations, by E. E. Weatherby no

Improvement of the American Landscape, by F. C. De

Sumichrast 162

Intensification of Negatives 220

Jamaica as a Resort for Photographers, by E. K. Hough . . 177

Japan, The Camera in, by Charles M. Taylor, Jr 36

Kite Photography, Range of, by William A. Eddy .... 145

Knife, The Retouching, by Henry Erie Cooper 108

Landscape, Improvement of the American, by F. C. De

Sumichrast 162

Landscape Photography, Skies in, by Joseph F. Smith . . 45
Lantern Slide Process of Twenty Years Ago, A, by H.

Pickering 116

Lens Nomenclature, by Dr. John Nicol 35

Digitized by

Google

Page

Lenses, A Chat About, by Frederick Thomas Bennett ... 56

Lenses, Short Focus, by C. M. Giles 58

Light Action on Silver Chloride, by Romyn Hitchcock . . 60

Lindsey, An Abbey Gate-House in, by T. Perkins .... 50

Local Development, by Osborne L Yellott 93

Lost Opportunity, A, by James B. Carrington 143

Making the Best of Things, by H. H. Williams .... 5

Method of Using Bromide Paper, by Henry F. Raess ... 47

Monaco and Monte Carlo, by G. E. Thompson 17

Mounting, Some Points on, by H. M. Gassman .... 62

Multiple Exposure, by Robert M. Reevs 106

Nomenclature of Lenses, by Dr. John Nicol 35

Notes on Ammonium Persulphate, by Newton W. Emmens . 68

Notes, Hand Camera, by Martin J. Harding 90

Odds and Ends, by R. A. R. Bennett 139

Odds and Ends, by Henry Wenzel, Jr 96

One Remedy for Pinholes, by Ottomar Jarecki 24

Ozotype, by T. Manly 91

Paradise of Small Plates, The, by James Reiiel Smith ... 30

Photographic Ghosts, by C. B. Talbot 167

Photographic Prevarications, By H. M. Beeles 164

Photographing Architectural Detail, by Robert J. Hillier . . 14

Photographing Flowers, by James Shepard 39

Photomicrography for Everybody, by W. H. Walmsley . . y^
Phototopographic Surveying Method, Progress of, by J. A.

Flemer 158

Pickle Process for Interiors, The, by John J. Woolnough . . 22

Pictures, Distorted, by Robert H. Bow 166

Pictures, The Hanging of, by F. C. Lambert 25

Pictorial Values, by W. M. Stine 134

Pinholes, One Remedy for, by Ottomar Jarecki .... 24

Platinum Process, The Best, by J. Joe 137

Plumbing Focusing Screen, A Method for, by C. W. Canfield, 1 54

Points on Mounting, by H. M. Gassman 62

Digitized by

Google

Vaqk

Prairie Fire, Chasing a, by C. N. Whittaker 171

Preconception, by G. W. Pach 115

Present Method of Toning, by Robert E. M. Bain .... 105

Prevarications, Photographic, by H. M. Beeles 164

Price Cutting, The Evil of, by E. S. Kibbe 9

Production of Negative Varnishes, by E. Valenta . . . . 118
Range of Triple Mid Air Kite Photography, by William A.

Eddy 145

Reduction of Negatives 222

Remedy for Pinholes, by Ottomar Jarecki 24

Retouching Knife, The, by Henry Erie Cooper 108

Saint Etheldreda, The Shrine of, by Digby-Cotes Preedy . . 10

Short Focus Lenses, by C. M. Giles 58

Shrine of St. Etheldreda, by Digby-Cotes Preedy .... 10

Shutter, A Novel Combination, by Actinic 101

Skies in Landscape Photography, by Joseph F. Smith ... 45

Small Plates, The Paradise of, by James Reiiel Smith ... 30
Some Notes on Ammonium Persulphate, by Newton W.

Emmens 68

Some Points on Mounting, by H. M. Gassman 62

Stability of Dry Plates, by Charles E. Fairman . . . . 156

Stereoscopic Work, by George Kilbum 161

Surveying, Phototopographic Method, Progress of, by J. A.

Flemer 158

That Focusing Cloth, by C. H. Bothamley 54

Toning Bromide Paper, by H. Hands 154

Toning, Present Method of, by Robert E. M. Bain .... 105

Transparencies, by H. W. Hales 121

Transparencies by the Aniline Colors, by P. C. Duchochois 179

Values, Pictorial, by W. M. Stine 134

Varnishes, Production of, by E. Valenta 118

Village by the Sea, Hawthorne's, by Walter Sprange ... 64

Washbox, The, by O. G. Mason 142

Why Prints Turn Yellow, by John R. demons 119

xil

Digitized by

Google

Page

With a Hand Camera on a Pilgrimage, by Miss Adelaide

Skeel 32

Yellow Prints, Why They Turn, by John R. Clemons . . 119

PROCESS WORK.

After Action of Light in the Chromate Processes, by J. Gae-

dicke 184

Chromate Processes, After i\ction of Light in, by J. Gaedicke, 184
Color Screens, Simple Method of Preparing, by Major-General

J. Waterhouse 183

Enamel, A Good Half Tone, by H. Woodbury Shay lor, Jr. . 191

Half Tone Enamel, by H. Woodbury Shay lor, Jr 191

Half Tone Reproduction, Retouching Photographs for, by

H. D. Farquhar 192

How to Coat a Large Plate Evenly, by H. Woodbury Shay lor,

Jr 192

Lenses, Nodal Points of, by Commandant \'. Legros .188

Light, After Action of, in Chromate Processes, by J. Gaedicke, 184

Nodal Points of Lenses, by Commandant V. Legros . . . 188
Retouching Photographs for Half Tone Reproduction, by

H. D. Farquhar 192

TABLES AND FORMULAS.

Albumen Sensitizing Solution 258

Amidol 214

Aristo Papers 227

Artotype Formula 259

Black for Woodwork 255

Blue Print Formulas 250

Bromo Hydrochinone 206

Collodion 257

Color Screen 256

Coloring Photographs 255

Combined Toning and Fixing Baths 249

Defects in Negatives 226

Development Pointers 224

xiii

Digitized by

Google

Page

Eikonogen 208

Eikonogen-Hydrochinone 210

Enamel Solution 257

Etching on Steel 258

Ferrows Oxalate 211

Fixing Baths 217

Glycin 216

Glycin Pyro 215

Hydrochinone 205

Intensification 220

Light, Comparative Strength of 256

Metacarbol 204

Metol 212

Metol Bicarbonate 214

Metol and Hydrochinone 212

Mountants 251

Opals, Developer for 211

Orthochromatic Baths 226

Ortol 217

Pyrogallol 195

Pyro-Metol 203

Printing on Silk 256

Rodinal 215

Royal Bromide Paper 245

Reduction 222

Reversed Negatives 252

Silk Printing 256

Silvering Mirrors 255

Societies 264

Test for Hypo 256

Tolidol 216

Transparencies, Developer for 21 1

Varnishes 254

Velox 241

Writing on glass 255

xiv

Digitized by

Google

INDEX TO AUTHORS

Page

Actinic loi

Bain, Robert E. M 105

Beeles, H. M 164

Bennett, Frederick Thomas 56

Bennett, R. A. R 139

Benson, Frederic G. P 98

Bogardus, Abraham 26

Bothamley, C. H 54

Bow, Robert H 166

Bowlus, E. L I

Canfield, C. W 154

Carrington, James B 143

demons, John R 1 19

Cockayne, E. 125

Cooper, Henry Erie 108

Cotes-Preedy, Digby 10

Cox, Prof. C. H 6

Crisp, H 43

Duchochois, C. P 179

Eddy, William A 145

Emmens, Newton W 68

Fairman, Charles E 156

Farquhar, H. D 192

Flemer, J. A 158

Gaedicke, J 184

Gassman, H. M 62

Giles, CM 58

Gravier, Charles 175

Hales, H. W 121

Hands, H 154

Harding, Martin J 90

Harvey, J. H 150

Hillier, Robert J 14

Hitchcock, Romyn 60

Hough, E. K 177

Digitized by

Google

Page

Jarecki, Ottomar 24

Joe, J 137

Jones, Chapman 59

Keif, S. E 148

Kibbe, E. S 9

Kilburn, George 161

Lambert, F. C 25

Legros, Commandant V 188

Manly, T 91

Mason, O. G 142

Nicol, Dr. John 35

Pach, George W 115

Perkins, T. 50

Pickering, H 116

Pilditch, Fred W 113

Raess, Henry F 47

Reevs, Robert M 106

Shaylor, H. Woodbury, Jr 191

Shepard, James 39

Skeel, Miss Adelaide 32

Smith, James Reiiel 30

Smith, Joseph F 45

Sprange, Walter 64

Stine, W. M 134

Sumichrast, De, F. C 162

Tabor, E. G 131

Talbot, C. B 167

Taylor, Charles M., Jr 56

Thompson, G. E 17

Toch, Maximilian 152

Valenta, E ... 118

Walmsley, W. H 73

Waterhouse, Major-General 1 183

Weatherby, E. E no

Wenzel, Henry, Jr . . 96

Whittaker, C. N 171

Williams, H. H S

Woolnough, John J 22

Yellott, Osborne 1 93

xvl

Digitized by

Google

Digitized by VjOOQIC

Digitized by V^OOQ I

Digitized by

Google

'^'^

The International Annual

ANTHONY'S PHOTOGRAPHIC BULLETIN

AND

AMERICAN PROCESS YEAR BOOK

1900

ON EXPERIMENTATION

By E. L. Bowlus

AFTER many and repeated failures, the amateur begins to
realize that the pathways to photographic disaster are many
and devious ones. If he thinks logically, earnestly desires
success, and labors accordingly, the mists of ignorance
arise and dissolve in the full sunshine of acquired experi-
ence; the pathways of disaster lose their sinuosities and parallel
those of success, while the horizon of photographic activity broadens
and deepens and tinges itself with the roseate hue of promised suc-
cess. Ignorance, therefore, is the source of failure : knowledge, the
positive seal of future success. To know or not to know — that is the
question.

Experience begets knowledge, and knowledge, success. Knowl-
edge may be acquired through unconscious or conscious experience,
if I may be permitted such apparently arbitrary and paradoxical use
of terms. By the former, I refer to the lessons of common every-
day experience. These come upon us easily, impress us powerfully,
but greatly delay the full measure of success so earnestly desired.
By the latter, or *' conscious experience/' I refer to the method of
science, to experimentation in which the mind consciously directs all
its energies to the solution of problems not within the domain of
ever}'-day experience, such as the identity of natural and artificial
electricity, the laws of falling bodies, etc. Knowledge acquired by
former method delays, and indeed may exclude, success. The latter
method hastens, and may include, success, commending itself to us
for the rapidity and almost unquestionable accuracy of the conclu-
sions arrived at.

Digitized by

Google

It is, however, to the latter method* to the scientific method of
experimentation, that I would direct your attention.

By all means experiment, but let it be judiciously and with afore-
thought. It is inadvisable, however, to experiment in the early pe-
riod of amateur growth, for photographic maturity of mind has not
then been attained. But to be successful, one must be master of
forces at his command. Conservatism or " rule of thumb " methods
will not secure it. Unknown conditions, as the tenns imply, are not
known until discovered, and so it is that the best results obtainable
are not attained until we can master the forces or modify the condi-
tions at hand by discovery, through experimental means, of the
methods to be employed. What we need in amateur photography

Return of the Cows

By Marshall H. Reno

is the scientific spirit of accuracy and precision as engendered by ex-
perimentation.

As a convincing proof of the undoubted superiority of methodi-
cal experimentation for success in any one line, the writer believes
he has succeeded, through experimental means, in producing blue-
paper whose tones equal any in the market, and he accordingly ap-
pends a description of the process, inviting a trial of the same.

In describing the process of making blue-paper the writer apolo-
gizes for the subject, and is only induced to give the method of pro-
cedure simply to illustrate the main idea of this article, viz., experi-
mentation, hoping thereby to arouse in some amateur mind the sci-

Digitized by

Google

entific method of procedure in dealing with problems that present
themselves.

In experimenting, certain given conditions are fixed, others mod-
ified, and vice versa, until the desired result is obtained. Likewise
in making blue-paper. This paper is simply a tough, compact paper,
coated with a solution of red prussiate of potash and citrate of iron
and ammonia. In this process there are three variable factors, viz.,
paper, chemicals, and technique.

I. Vary paper, other conditions fixed. DiflFerent kinds of paper

Light at Eventide

By F. C. Lambert

were coated and tried. A tough, compact, well-sized paper yielded
the best blue tones. Special blue-print paper can be purchased at
supply stores for architects, and sometimes from the architect him-
self, but I have found some grades of unruled letter paper will do
just as well. Of this kind of paper linen paper is probably the best.
2. Vary chemicals, other conditions fixed. Different propor-

Digitized by

Google

tions of constituents were tried. A slight excess of red prussiate of
potash over proportions in the appended formula gave best results.
Although perhaps not essential, I seemed to get best results by pour-
ing the red prussiate of potash into the citrate, and not vice versa.
My belief here is founded more, perhaps, upon analogy to another
chemical reaction than upon fact. The solution should be mixed
up three or four hours beforehand, and filtered just before use.
Stock solutions of the prussiate and citrate deteriorate, therefore
coat paper with new solutions only.

3. Vary technique, other conditions fixed. The technique is the
most important factor of the entire process. The paper may be
floated on a bath or coated with a brush. The foniier is the more
expensive, hence the latter was resorted to.

Make a brush by turning a strip of canton flannel (nap side out)
over edge of a clean glass negative, and fasten with a string or flat
rubber band. Make brush wet, pull the nap down over the edge,
and trim so as to avoid streaking the paper. Next in order, hold
down the lower left-hand corner of paper (cut to desired size) with
thumb or finger of left hand, and, with brush in right hand, brush
from left to right and then across, taking care that the coat is ap-
plied evenly. Coat about one dozen sheets in this manner, laying
each aside on a table in a dark or dimly lighted room, then recoat
each one, in same order, beginning with sheet No. i, and applying
solution from the edge of paper opposite to that of first coat. Coat-
ing must be done in a dimly lighted room. Ruby light and dark
room are unnecessary.

If left to dry spontaneously, the paper deteriorates in the inter-
val. It must be dried immediately. I use a coal-oil stove, holding
the paper, coated side up, about one foot from stove and moving it
about to avoid scorching. Since the paper deteriorates rapidly in
the presence of atmospheric moisture, it should be used as soon as
possible. Blue-paper may be preserved for a short time by putting
it in a tin box with some granulated calcium chloride. Old blue-
paper may be rejuvenated by exposing it to ammonia fumes until it
regains its original yellow color.

The formula used above is as follows :
Xo. I . Red prussiate of potash 50 grains.

Water (rain or distilled) i ounce.

No. 2. Citrate of iron and ammonia 100 grains.

Water (rain or distilled) i ounce.

Take about equal quantities of each (slight excess of No. i),
mix, and let stand from three to four hours before using. Filter.
One-third of this solution ought to be sufficient to coat two dozen
5x7 sheets.

Experiment may be employed profitably in determining the role
of each constituent in the developer, either by w^ay of original re-
search or verification of ideas obtained through reading photo-

Digitized by

Google

graphic literature. Another profitable field is the determination of
normal exposure under standard conditions of season, time of day,
stop, and rapidity of plate used. When this is once determined, the
exposure tables in back part of International Annual may be
used successfully.

In conclusion, the main ideas i)rescnted are : i. Ignorance means
failure, and, by inference, knowledge means success. 2. We should
not delay success by too much dependence upon common every-day
experience when it may be accelerated by experimental efforts in the
desired direction. Do not experiment at random, but methodically,
judiciously, and with aforethought.

ON MAKING THE BEST OF THINGS.— No. 2

By H. H. Wilfjams

THINKING over my contribution for the coming Annual,
it seems as if the idea 1 tried to impress on the readers of the
1893 Annual was a useful one, and one on which a good
deal more might be said.

About a week ago I was with a friend looking over an
English paper which contains many very beautiful reproductions of
photographs, and we were trying different names for some of the
pictures. We found that in nearly every instance we could pick out
five or six names that would suit them just as well as the ones given,
and, more than that, the new names seemed to be fully justified by
the subjects con-
tained in each.
Many of them
were of our old-
t i m e gardens
and houses in
England, and
contained e 1 e •
ments of great
beauty; but, ex-
cept in two in-
stances, one
could not call
them pictures.

" I have been
led to select
* Making the
best of Things '
as the subject of
my remarks for

Defender

By Geo. D. Pratt

Digitized by

Google

the 1893 Annual because of the strong impression produced on my
mind that many of our ' noble clan * never think of taking more than
one glance at their subject before transferring it to their dark slide;
and, if I could only induce one or two readers to use their eyes a little
more before exposing the plate, my labor will not have been in vain.**

I cannot add anything to this, for it just expresses what 1 feel
when I look over a collection of photographs. How few show any
thought or real " leading idea '' ! Exposure, definition, printing —
all first rate, but rarely one that tells its own story.

One of the pictures referred to above I can see now. It is simply
four or five work-horses returning from plowing, all in a row and
broadside on, a rough field for foreground, and distant mountains
for the background. Very simple, I think I hear you say, and yet
it made " a picture." That picture did not need a showman, but told
its own tale in the simplest and clearest manner.

Now, my good sisters and brothers who use (or misuse) a
camera, will you not try and do one " thought-out " picture this
coming year ? I say '* one," and I mean it. One picture thought out,
worked for, and accomplished will give you such real pleasure as
you do not now dream of. Never mind how simple your subject is,
let it be one that gives pleasure and tells its own tale.

One of the most beautiful things I ever did was a girl in a light
dress pulling hawthorn from a tree in full bloom. " When the thorn
is white with blossom " fitted exactly. I simply mention this to show
how little is needed to make a really pleasing picture.

" The trivial round, the common task," will in this as in higher
things furnish " all we need to ask " ; and those who really strive
after finding and perpetuating the beautiful in the world will, I feel
sure, find that they are getting glimpses of the " Road " which the
poet speaks of in the same verse.

GAIN OR LOSS

By Professor C. H. Cox

AMONG the legacies which the nineteenth century has to
bequeath to its successor, none is more remarkable than
that of Photography in its present advanced condition. It
enters business, recreation, history, domestic life, and
science ; in fact, it is difficult to define its limits. I propose
to consider it only in its relation to one branch of art — that of illus-
tration to books, newspapers, etc., also in reproduction of pictures ;
otherwise the field is too large for anything short of a volume.

Like all newcomers, whether in the animal or the vegetable king-
dom, or with labor-saving inventions, with which it may be classed,
the struggle begins and often ends in driving out the old dwellers.

Digitized by

Google

and so the " survival of the fittest " goes on from age to age. A
period like the end of a century seems a favorable one to review, as
a merchant balances his books, the relative positions of Art and
Photography, and to figure whether in these special branches of the
former there has been gain or loss. Art comes to us from times
unknown, but the newcomer had its birth in the memory of many
still living, and, judging by its growth, its future may yet be marvel-
ous. When Daguerre's process became a living fact, especially in
portraiture, the first perhaps to feel it seriously was the miniature
painter. The new fashion quickly ruined this beautiful branch of
painting by its rapidity, and even price, in its earliest stage. Minia-
ture painting was simply crushed out. The portrait painter, except
of the highest class, next suffered, and the poor painter of " like-
nesses '' had to look to his rival for employment. Fortunately or
unfortunately, he was able to make some sort of a living thus, but at
the expense of extinguishing himself.

When the advancing art, however, at last brought in the half-tone
process and applied it to book illustration, also pictures for ornament,
a hard blow was struck at the wood engraver, even in his highest
class of work. Speed and cheapness went far to displace the wood
block, though with, so far, a very inefficient substitute.

Steel engraving had perhaps already shown a decline from its
great expense and slowness of production. This was apparently
unsuited for the restlessness of the age, and it has died away, except
for certain special purposes, such as bank-notes, etc., difficult to
forge on account of the special skill required.

Lithography, the direct drawing in chalk on the stone, was, when
photography appeared, a cheap, popular, and very effective method
of illustration. Some of these results were so beautiful when from
the hand of a master that for a time it seemed almost the ideal art
of reproduction. It, too, has been set aside, except for color printing
and some cheap and common work. These are perhaps the chief
losses we have to deplore. Now, strange to say, one branch of art
has survived with very little loss, and has even gathered strength and
value — ^that of Etching. It may be considered in its exposition of
the value of pure line as the antipodes of the Half-Tone. The Mez-
zotint has seriously suffered from the competition of Photogravure,
perhaps the most satisfactory of all the new processes.

Reproduction of specially made drawings in line may come next.
Then comes the ** Half-Tone '' with its various modifications, and, I
fear I must say, its unsatisfactory results. In every artistic mind
there is an undercurrent of dissatisfaction even with the best, which
are usually copies of celebrated pictures. These have done a great
deal of good in spreading a knowledge of art. The half-tone appears
at present to have usurped the whole field of illustration, and it is
instructive to note that the attempt to improve them is by engraving
to imitate the old woodcut as far as possible, former engravers on
wood being thus employed. The result is certainly better, but leaves

Digitized by

Google

still much to be desired. It proves, however, the value of the intelli-
gent use of " line " in all artistic illustration. Look at the exquisite
way the old steel engravers used the " line '' — the tenderness, the
delicacy, and the wonderful tone which they thus produced — ^and
then think of the cheap half-tone productions, and see which is and
which is not true art. Steel engravings of forty and fifty years ago
are becoming every day more valuable, so are woodcuts of the same
and later periods. There are very few such now produced, as draw-
ing direct on the wood-block, which was a training for some of the
best artists, has been superseded by the photograph upon it. Some
talk of reviving lithography has of late been noticed, but little has
yet come of it. Curiously enough, there is a distinct revival of minia-
ture painting, valued all the more if direct from life and not aided by
the photograph.

Satiety with the cheap and lavish illustration by the half-tone
is turning the eyes of many to the pre-photographic era, just as the
Pre-Raphaelites broke away from the classic schools ; and constantly
comes the demand for something better than what now is the pre-
vailing style. Wood-cutting is practically dead ; steel engraving is a
thing of the past; lithography is gone, except in cheap work and
color printing ; and all good old handwork of every description is suf-
fering eclipse. Even the painter, who uses photographs as a con-
venient aid, seems to have lost something that study used to give
him; and some of the finer minds, in protest against the so-called
Realism, which is the result, have broken off into extravagant
eccentricities, for which they scarcely recognize the reason.

Any one who walks through modern picture exhibitions, and then
visits some of the galleries of the older masters, must feel that there
is something lost of a spirit of refined beauty, which no technical
skill or realistic treatment can replace. The spirit of reaction here
is again showing itself, and the picture buyers now look more to the
earlier schools than the works of living artists. Can this be the result
of photography ? It is possible, though difficult to prove. Still, it is
evident that beauty, refinement and grace are again sought for in the
painter's work, and are asserting themselves against hard fact as the
basis of art. When I see such works as were issued at the zenith
of steel-engraving, such as Turner's pictures and book illustrations,
I can only sigh, **Oh, for the touch of a vanished hand ! " and so it is
with every kindred work of the time. In fact, it would seem that no
mechanical process, however perfect, which in its nature cannot have
sympathy with its subject, will ever compare with the most perfect
instrument which responds to the mind that directs it. That instru-
ment is the Human Hand,

Digitized by

Google

Photographed and Copyright, 1899, hy
Dwight L. Elmcndorf

THE DEWEY ARCH
'* A thing of beauty is a joy forever."

Digitized by

Google

Digitized by

Google

THE EVIL OF PRICE CUTTING

By E. S. Kibbe

I WOULD like to use a little valuable space in the Annual to
protest against the evil of price cutting, and cheap photographs
in general. It is not to be wondered at that we are looked down
upon by artists, and by a great many other people. Since the dry

plate and ready-prepared papers are in almost universal use, a
person may purchase a hand camera, and after using it a short time
imagine that he is a fully fledged photographer, and then, purchasing
an outfit, he starts
in as a profes-
sional. If busi-
ness does not come
his way as readily
as he imagines it
should, he will cut
the price.

But this is not
the " fellow I am
after." It is the
men who can and
do make fairly
good work, but
who, if business is
a little dull, will
cut the price a dol-
lar or more, and
create a little rush
for the time being,
after which, how-
ever, they will
again find it " dull
times," and be
obliged to resort
to some other
method to bring
trade their way.
About one in ten
after dropping the
price in this way ever gets it back to where it was, and in most cases
the cash-book at the end of the year will not show as much of a
balance in their favor as when they held the higher price.

Another class, to attain the same end, will adopt the " ticket

Long, Long Ago

By W. J. Anckorn

Digitized by

Google

system," and give a " life size crayon " with every dozen cabinets at
a price, thereby giving the idea to the pubHc that the work is not
worth the price asked, and it is necessary to hold out some induce-
ment in order to " peddle it off." I consider this method too much
on the order of cheap baking powder, ** A premium with every
package," and believe that is the way it is looked at by intelligent
people. If we will hold living prices for our work, and make it a
point to turn out work that is worth the money, business will come
our way, and we will be respected accordingly.

Up to February' i of this year, for the past ten years I have con-
ducted a gallery in a Western town of 1 200 inhabitants, and, although
my prices have been from one dollar to one dollar and a half higher
than in any of the surrounding towns, I have drawn trade from
twenty miles in all directions, and w^hile some objected to the price,
they came just the same. When I sold out, my successor thought he
would get more trade by making lower prices, and even in this short
time I understand the business is practically ruined. In a country
town there is only a certain amount of business to be done. If you
put down your price, you will get a rush for a time, then the people
are supplied, and you are obliged to wait until they want more ; but
with steady prices, and the confidence of the people, you are sure of
a reasonably steady patronage.

Try it, brothers. If business is dull, try to make your work better
if possible, but do not lower the price. Should a man drop in on
you and cut prices, if you find it necessary to cut, put the price down
to the cost of raw material. He will not last long. Then you have
a good excuse to go back to your original price.

"THE SHRINE OF ST. ETHELDREDA"

By Digbv Cotes-Preedy, B. A. (Cantab.)

'* A SLUGGISH river, fringed by pollarded willows and
/\ defined by towing paths; wide meadows and corn-
/ \ fields of rich fertility, intersected by dikes and enliv-
/ \ ened by windmills ; long lines of embankment which
defend these prolific tracts from the incursions of
winter floods: these are some of the features of the peculiar land-
scape which surround the old city of Ely." Such is the apt and
terse description given by an English writer to the renowned City of
the Fens.

In response to the Editor's appeal for a contribution, I would also
describe the beauty of the haunts, once loved and well known by
Hereward the Wake. But, alas! work, truly defined by Tolstoi as
" the inevitable condition of human life," has at present so many

Digitized by

Google

prior claims upon my time that this article must perforce be brief, a
necessity perhaps welcome to my readers.

The Cathedral is naturally the first object of importance in the
eyes of a stranger. Inseparably connected with this ancient edifice
is the name of Etheldreda, daughter of King Anna, who during the
middle of the seventh century held sway over East Anglia. This
fair Englishwoman desired a life of celibacy, but, owing to her
father's command, married, in 652, the Earl Tonbert, chief of the
inhabitants of the Fen country. On his death, which occurred three
years later, the princess hoped to devote the remainder of her life to
religious duties, but was constrained to bow to the will of an uncle —
who had succeeded her father — and marry Egfrid, son of Oswy,
King of Northumberland. Historians agree in stating that she
** maintained her resolution of chastity in both marriages." After
some dozen years, permission was given to Etheldreda to leave the
court of her husband for the monastery of Coldingham. Egfrid
soon repented of his decision and determined to have his queen back,
setting out for her retreat with that intent. Etheldreda, having
learned of his approach, fled toward Ely. The king came up with
her near the sea, but '* an extraordinary inundation flowed in and
surrounded the hill " on which she and two companions were, so that
her husband abandoned his resolve of compelling her to return to his
kingdom, and left her free to continue her journey. i)n reaching
Ely, the virgin princess resolved to found an establishment for men
and women. This idea took effect in 673. Etheldreda became the
first abbess, but only lived a few years to see the benefits her unselfish
life had wrought for the inhabitants of the Fens. On June 23, 679,
she passed away, leaving her elder sister Sexburga to govern the
monastery. Good fortune favored the pious settlement until the inva-
sion of the Danes, in 870, who devastated the city and killed all the
folk they found there. One hundred years later, Ethelwold, Bishop of
Winchester, endeavored to repair the ruins of the monastery. Still
later on Ely and neighborhood became '* The Camp of Refuge " for
the Saxons, who resisted Norman rule. Subsequent history is inter-
esting, but my readers are doubtless yearning to hear particulars
anent the present magnificent fabric.

Ely Cathedral, if we except that of Winchester, is the longest in
England. The full length from east to west is 535 feet. i\ probable
visitor with strong architectural tendencies will be interested to hear
that this noble pile can exhibit specimens of Norman, in the Great
Western Tower and other parts : Early English, or Gothic, seen in
the Galilee Portico; Ornamental English, specially in the Octagon
and Lantern ; and Perpendicular, or Florid English, in several of the
monuments. Till about 1840 the building was shamefully neglected
as far as restoration was concerned, but in 1845 the late Dean Pea-
cock, with Sir G. G. Scott as architect, set about the very necessary
repairs.

American friends who cross the Atlantic and chance to visit this

Digitized by

Google

hallowed spot of East Anglia will be struck with the grand west front
of the Cathedral, very original in design. " It consists of a noble
tower of three stories, the uppermost an octagon. On either side of
this projected a wing or north transept, only one of which now
remains." The Porch, ** an elegant composition of pointed arcades,
with some detached shafts inside arranged about two tall lancet win-
dows," must be traversed before the eager visitor passes into the
Cathedral through two double doorways.

Ere the Nave, with its twelve bays in two tiers, is actually reached,
one must pass beneath the Great Western Tower. The roof has been
very richly decorated by the late M. Le Strange, of Hunstanton Hall,
Norfolk. The same remark might apply to the roof of the Nave.
The magnificent painting, a labor of love, was also undertaken by M.
Le Strange, who died before the work was quite finished. His friend,
M. Gambier Parry, generously completed what is undoubtedly one of
the chief glories of the Cathedral. **The paintings are arranged in
panels corresponding with the bays of the Nave. The central groups,
the figures in which are nine feet in height, form a series of sacred
historical subjects from the Creation to the Ascension, commencing
at the western end. Nine of the pictures are supported on either side
by figures of the patriarchs and prophets, each bearing a scroll
inscribed with words of his own referring to the coming of Christ.
The tenth has the four Evangelists as supporters, and the eleventh
and twelfth extend across to the outer border without supporters."

The Great Transepts exhibit remains of Abbot Simeon's Norman
work. Both, three bays deep, have east and west aisles, the bottom
story in both being early Norman (1082-1107).

The Octagon, ** an open area in the centre of the Cathedral, three
times the width of the Nave," is most striking. The fall of the cen-
tral tower gave the architect, Alan de Walsingham, the brilliant idea
of erecting such a magnificent structure. Many writers affirm that
it is the most beautiful and original design to be found in the whole
range of Gothic architecture. ** It is formed by four larger and four
smaller arches . . . ; the larger open to the Nave, Choir, and
Transepts ; the smaller, to the aisles of all three. At the pier angles
are groups of slender shafts, from which springs a ribbed vaulting of
wood. This supports the lantern, likewise octagonal in shape, but
set in such a manner as to have its angles opposite the faces of the
stone octagon below."

A modern oaken screen, beautiful in design, separates the Choir
from the Octagon. The piers of the Choir are of Purbeck marble,
while the capitals of the shafts have been enriched with leafage of
late Early English character. Any who visit St. Etheldreda's shrine
should notice particularly the triforium arches and the clerestory
windows. The position of the Organ is unique, projecting as it does
from the triforium of the third bay on the north side.

I should like to describe in detail the handsome Stalls; the very
fine brass Lectern, a memorial to the late M. Le Strange; the

Digitized by

Google

Engraved by By L. V. Kupper

Electric City Eng. Co.,
Buffalo, N, Y.

FROM PRIZE EXHIBIT, P. A. OF A., 1899

Digitized by

Google

Digitized by

Google

Reredos, consisting of " five compartments filled with sculpture,
above which rises a mass of rich tabernacle work." But " tempus
fugit," so I must leave my indulgent readers to discover for them-
selves the remaining beauties of the inside of Ely Cathedral when
they come to the shores of this " tight little isle."

Mention must not be omitted of the lower portion of a stone cross
brought to light by the renowned historian, Bentham, at Haddenham.
It stands near the Prior's Doorway, bearing the Latin inscription,

LUCEM— TUAM— OVINO

DA— DEUS— ET— REQUIE—

— AMEN—

translated as, " Grant, O God, to Ovin, Thy light and rest. Amen."
This Ovin held the position of steward of the Island under the rule
of Abbess Etheldreda.

If my readers visiting Ely possess a large amount of activity,
they would do well to obtain permission from the Dean (Dr. Stubbs)
to explore the upper portion of the Cathedral. The view from the
top will amply repay any fatigue and labor the ascent may entail.
** It is a pleasing panorama of the fens, with several churches peep-
ing from among the trees, and the river Ouse tracing its winding
course through corn-fields, meadows, and pasture."

Leaving the Cathedral, photographers will meet with other objects
well worth their plates. The Deanery, with its long roof, was con-
structed, it is generally thought, out of the ancient Guest Hall. The
Bishop's Palace, dating from Henry VII.'s time, is situated to the
west of the Cathedral. In it is carefully preserved the very curious
" Tabula Eliensis," " representing forty Norman knights, each in
company with a monk, and having his shield of arms above him with
name and office." The present picture is a copy of the original which
hung in the great hall of the monastery.

Beyond the Palace Green stands the Church of St. Mary, built
by Bishop Eustace about 121 5. It possesses some interesting archi-
tectural features, especially the arches of the north and south doors.
** They are pointed and decorated with different sorts of Norman
mouldings; but the columns have slender detached shafts, united
under one capital, wreathed with foliage, as in the Early English
style." The " Cromwell Arms," adjoining the churchyard on the
west, was once probably inhabited by Carlyle's hero.

Any stranger to Ely could well spend a week there, for the neigh-
borhood affords opportunities for enjoyment and edification for all.
The angler will soon find himself " at home " ; the cyclist is able to
spin along roads the very finest in England ; education and pleasure
come in a pleasant guise to the architect, archaeologist, and anti-
quary ; an abundance of work for the artist is at hand, while rare
chances occur to the entomologist and naturalist of increasing their
precious stores. In fine, the whole neighborhood teems with attrac-

Digitized by

Google

tions, some wearing the garb of old age, others that of youth. Cam-
bridge, with its '* ancient, yet ever young University," is only a few-
miles away. Soham and Wicken churches, easily reached, will well
repay the traveler. In the latter repose the bones of Henry Crom-
well, son of the Great Protector, who died in 1673.

I must express my regret that I am unable to send any photo-
graphs to illustrate this article, but my excuse has been previously
given, so " Au revoir ! "

ON PHOTOGRAPHING ARCHITECTURAL DETAIL

By Robert J. Hillier, M.R.C.S., L.R.C.P.

THERE are several minor points in the photography of
architectural detail which are worth knowing, and, if the
photographer knows them before starting on work of
this nature, they may save him some considerable time
and trouble. It is sometimes very difficult, when work-
ing in churches and other old buildings with stone or polished floors,
to get a firm stand for the tripod, and a tripod stay is, therefore, al-
most an absolute necessity. They can be obtained from several man-
ufacturers now for a few shillings, and well repay their trifling cost.
With regard to the camera, I have found it an excellent plan to have
a double base-board hinged to the original base-board of the camera
at the back, so that the lens can be pointed upward without moving
the tripod. By making one base-board open out to a right angle
with the other, the camera can be pointed vertically upward for tak-
ing ceilings, etc., and may be fixed at any angle by means of struts

working at the
sides with
clamping-
screws. Of
course, an effi-
cient swing-back
is of the most
vital importance,
and without one
it is hopeless to
try to do this
sort of work.
The lens, also,
must be capable
of being stopped
down to a very
small aperture.
Focusing should

Chaff

By Ma da we A. Marguerite

Digitized by

Google

Digitized by

Google

Fiews at Monaco

Digitized by^

always be done with a lens or other magnifier. When working
on any particular piece of work, I consider it a very good plan
to choose the same time each day, if possible, so that the actinic
value of the light may be as nearly as possible constant. I am fully
convinced of the value of a photometer for estimating exposure, as
the light in old buildings is frequently very deceptive. In the pho-
tographic survey in England suggested by the Society of Antiqua-
ries it is usual to photograph a three-foot scale, partly divided into
inches and feet and partly into metric divisions, in each picture, and
it is a plan well worthy of adoption by every one engaged in work
of this sort, as it, of course, considerably enhances the value of the
photographs if one can always afterward get accurate dimensions
from them. The scales are printed very boldly on paper, and re-
quire mounting. They can be obtained from the Society of Antiqua-
ries, London. In my experience isochromatic plates give rather
better results than ordinary ones. I have no doubt that pyrogallic
acid is the right developer to use, as it does not clog the high lights
even when photographing very white stonework. I think every one
will agree that platinum is the printing process par excellence for
work of this description.

MONACO AND MONTE CARLO

By G. E. Thompson

Uifustrations by the Author)

** f ^ OR the love of money is the root of all evil." — I. Timothy,

I i vi., ID.

I y His Serene Highness Prince Albert of Monaco rep-

I resents the oldest reigning family in Europe. Small

though his country, its history dates back to the year
980, when Giballin Gramaldi, a Genoese noble, was awarded the prin-
cipality for his prowess in ousting the Moorish pirates from Eza, a
little mountain town crowning a height between Monaco and Nice.
Part of the principality now enjoys a world-wide, though not alto-
gether enviable, reno\yn from the fact that there stands the chief
gambling-house, the black spot of Europe. Monte Carlo, taking its
name from the late blind Prince Charles, is known all the world over.

From Mentone to Monaco the distance is scarcely seven miles.
The railway crosses Cape Martin, continuing westward along the
beautiful seacoast. The first point reached in the principality is
Monte Carlo, its station immediately below the Casino ; then the bay
of Condamine, with its mass of hotels and shops, is passed, and the
station of Monaco, below the rock on which the town stands, being
soon left behind, you have quitted the principality, and with it the

Digitized by

Google

small state, only measuring three and a half miles in its greatest
length.

From my diary, March 12, 1899: Mentone. — The sun has not
shown his face here for four days, but rolling clouds, wind with
occasional rain, and log fires have taken his place. This morning he
is back to business. The clouds have fled to Africa or England ; the
wind has collapsed, and a serene blue sky overspreads a calm indigo
sea, looking dow^n on a few white sails and the distant purple head-
land of Monaco, with the white buildings on Monte Carlo glistening
in the west.

Our party of seven were to follow their various devices for the
day. The Professor wandered oflF up the mountains to hunt ferns
and brigands ; others departed for the beautiful garden belonging to
Mr. Hanbury, at La Mortola; the sketcher went forth to sketch;
while I, after an early breakfast, caught the train, and was soon
enjoying the hot sunshine among the scented pines, aloes, and
prickly-pear groves which clothe the cliffs of Monaco.

But before ascending to the town, I wandered along the quay,
taking a few views of the yachts and shipping in the bay. An
unwonted bustle pervaded the usually quiet port. Crimson cloth
lay along the pier, betokening unusual festivities. Walking up the
steep incline to the town, I passed under the frowning portal with
the date 1533 over its arch. In the piazza in front of the palace flags
were being hoisted, w^hile a few generals and inferior officers of the
miniature army stood about airing their gorgeous uniforms. A
narrow^ pathway leads along the summit of the rock on the west side,
skirting the wall and ancient bastions, the regularity being broken by
little watch-towers and tourelles, each one a picture, with conical red
roof and loop-holes overhanging the sea, the creeper-grown walls,
and masses of vegetation. Surely no town has a more beautifully
situated park than that of Monaco, for it continues down and around
the end of the rock with a perfect maze of pathways wandering up
and down the cliffs, among the shady groves and brilliant flowers.
Seats occupy the many vantage points, where you can bask in peace,
listening to the songs of the birds, and gazing over the sunlit sea or
along the coast to where the Tete du Chien and other heights with
their villages form a noble background to this Paradise.

I quitted the gardens for a few minutes to photograph the fa9ade
of the new fine gray stone cathedral, and then, continuing around the
southern end of the promontory where a fine avenue shades the road,
I looked down on the port. Nor was I the only person so engaged,
for the walls of the roads along the eastern side of Monaco were
becoming thickly lined with people. This sight caused me to hasten.
I reached the wide quay, but was politely repulsed by an official,
whereupon, with other loafers, I took to the sandy shores of the little
bay. A breeze had sprung up, and the white-tipped waves came
rolling in gallantly.

Digitized by

Google

The diminutive army of the principaHty, with their brazen helmets
and gorgeous panoply of war, were spread in full glory along the
quay. The high and showily dressed officials were there also. The
quay, the roads leading up this side of the rock in three heights, and
every inch along the walls w^ere occupied by the inhabitants or
strangers. Gayly colored parasols stood out against the green back-
ground of gardens, and the flag of Monaco waved proudly below.
What did it all mean ? I turned to one of the many boys on the shore
to inquire. He replied that the Prince of Monaco would shortly land
from his yacht, which was now approaching, being, he believed,
already off Mentone. Every one appeared to be on the tiptoe of
expectation ; the army stood at ease ; the select upper ten formed a
line along the quay, and now two open landaus containing members
of the family and court drove rapidly down from the palace.

Presently the sound of cannon boomed out from above, the report
grandly rever-
berating from
the mountains
over the bay be-
yond Monte
Carlo. You
think that one of
the old - time
bombardments
was taking place.
All eyes were di-
rected out to sea,
and the sound of
the guns had
scarcely died
when the
Prince's steam
yacht, " Princess

Alice," steamed into the bay, soon swinging around and dropping her
anchor. Again the artillery sounded as a white boat bearing the flag
of Monaco in her stern was rowed swiftly up to the pier.

And now the sounds of sackbut, psaltery, and harp were heard ;
in other words, the band blazed out with the National Anthem as His
Serene Highness the Prince of Monaco stepped on the pier and
embraced the Princess. As the party drove off to the palace, the
cannons again belched forth, and the gratified crowd dispersed to
their own homes.

Along with the rest of the common herd I made my way through
Condamine toward Monte Carlo. The gardens of the Casino looked
lovely and inviting for a quiet stroll among the palms, evergreens,
and flowers. Picturesque points of view abounded, and the camera
was soon at work. In a sheltered nook of the little park there is a
pen of Moufflon, the wild mountain sheep of Corsica. These animals

Digitized by

Google

wear long, curved horns and have the skin and hair of deer. They
were very tame, and were glad to nibble cheese, though bread seemed

to be beneath their aristo-
cratic notice.

The broad flight of steps
leading up to the doors of the
Casino presented a picture
worth watching. There were
carriages constantly arriving,
their well-dressed occupants
making eagerly for the gam-
bling saloons, while numbers
of pedestrians helped to swell
the unceasing crowd desirous
of entering the broad way
leading more or less to de-
struction. Many also issued
forth from the interior, and,
as I stood on the steps watch-
ing, I noticed a preponderance
of disappointed and harassed
faces among those descending.
Putting on a bold face,
I entered, but was told
to go to a certain office
and deposit my parcels. This being done, I entered the office,
where sat a number of officials, whose business it was to scan each
visitor, and, if thought to be a fit and proper person, to provide the
individual with a ticket for the gambling saloons. This ticket was
free and lasted for the day of issue. I underwent scrutiny, and was
universally condemned. And why? Because, forsooth, I wore a
Norfolk jacket. I was politely told that the line must be drawn at
belt and buttons such as those I sported. From this high tribunal
there is no appeal. I could not be allowed to ruin myself and bring
disgrace on my family in those clothes. Gentlemen in knickerbockers
were also excluded, so I was not alone as an outsider. Fortunately
my scanty wardrobe at Mentone boasted a black coat. I would return
another day. Meanwhile I walked around to the grand terraces on
the side of the building facing the sea. The sun shone gloriously, and
the groups of promenaders stimulated picture-making, and photogra-
phy went on gayly.

At the Hotel Garavan, Mentone, dinner was timed so that visitors
who inclined might rise from the table to catch the evening train to
Monte Carlo. A look down the long tables told its story, for the
ladies intent on this particular form of dissipation would appear in
their hats — works of art, each of them — and in costumes that were

Digitized by

Google

calculated to collect a crowd if exhibited in a Parisian milliner's
establishment. And the ladies themselves! I remember — but no,
that's telling — I remember nothing .

One evening soon after the events described, with others of our
party, I joined the early stampede from the dinner table. It was
dark, and as the train neared Monte Carlo we looked forth from the
windows on an illuminated fairyland. There was the rock of Monaco
jutting out into the dark sea, a sombre setting to the brilliant jewel
in front. The terraces, casino, and gardens of Monte Carlo were a
blaze of light. In the restaurant facing the Casino were crowds of
diners, to whom a string-band discoursed sweet music.

The black coat was passed at once. Name ? Hotel ? Nationality ?
Age? Was I over twenty-one? *' Yes." Got my ticket, and entered
the fatal doors.

I had been there in the year 1898, and was now astonished at the
great changes. The place had grown : a large new saloon had been
added, the walls being decorated by painted panels with sporting
pictures, outdoor games, etc. There are, if I remember rightly, four-
teen tables in all. Each table will probably seat forty or fifty gam-
blers, and many more can stand behind those seated.

As regards gambling, the bank realizes large sums each day ; thus
it stands to reason that in the generality of cases the players lose
heavily. On the roulette tables, the lowest sum which a player may
stake is five francs, the largest £240. When the roulette in the centre
of the table is spun round, a marble is set running in the contrary
direction inside. This is the time for placing your money on the
table. When the marble falls into one of the thirty-seven stalls into
which the wheel is divided, no more money may be placed. The
result i s d e -
c 1 a r e d : the
money of the
losers is raked
up by the crou-
piers; the bank-
ers throw the
winners their
amounts, and
the whole pro-
cess is repeated.

In the game
of Trente et
Quarante, which
is played with
cards, the
smallest sum al-
lowed on by the

i^^-

. '>

"5^> '.iKfc

player is twenty francs, the largest £480.
may be gambled away in a few minutes.

On these tables fortunes

Digitized by

Google

After watching the games for some hours, I have come to the
conclusion that there is only one really good system, and that is the
one found out and given free to the world by Mr. Punch. At the
same time it is not a system which would entirely commend itself to
the proprietors of the Casino, nor would it receive the unqualified
votes of the larger proportion of players. Mr. Punch says that, after
much observation, he found out a way not to lose at all : '* Don't
play."

I can speak from experience of the correctness of Mr. Punch's
method.

THE PICKLE PROCESS FOR INTERIORS

SOME EXPERIENXES W^TH AN OLD DEVELOPER. — ADDRESSED TO
AMATEURS WITH APPETITES.

By John J. Woolnough

A glorious day, a perfect day, I sigh
Full of content, while in the leafy shade

Upon a hammock stretched at full I lie,
And with tobacco's soporific aid

All of the day's delights before me pass,

Just as I saw them on the screen's ground glass !

Early that morning, ere the early bird

Had met the hapless worm, I seized my Kit.

Visions of subjects rare within me stirred.

And hopes of something that would make a hit.

Far from the city's throng I fled in haste.

And found some spots exactly to my taste.

All the long day Dame Fortune has been kind ;

Where'er 1 turned some subject would I find ;
Reveled delighted 'round an old-time farm,
Whose every corner wore some special charm ;

Till, tired and hungry, I eased up a spell

For a much-needed meal, at this hotel.

A meal where superb pickles played a part

Weaned me for once from every thought of art ;
But, now the inner man has been supplied,
I look back on my day's work full of pride.

Then to my camera, standing quietly by,

I thus addressed a short soliloquy :

Digitized by

Google

** O best of friends ! for ten years you have been

Faithful recorder of each pleasing scene.

Though up to date indeed when you were made,
I think ril have to part with you — in trade."

Imagining it shuddered as I spoke,

I fell asleep, and dreamed that I awoke.

Standing with legs stretched wide, my body bent,
I tried to puzzle out what this all meant.

Then muttered, ** Must have walked so far to-day,

IVe actually worn my feet away !
It's evident my legs end in a point
An inch or two above the ankle-joint."

My arms both rigid, forced back out of place,
Apparently now form a swing-back brace;

And where my spinal column used to stand,

A rackwork lies for focusing by hand ;
Quite interested, I my ribs behold
Converted to a bellows many fold.

My cap hung by a string, and my bald pate

Served as a lens working about F 8 ;

Somewhere across my back I took for granted
A screen for focusing was firmly planted ;

I trembled as I felt beneath my shoulder

Some one inserting slowly a plate-holder.

'* Well, if I'm down to stop down," I declared,
" This is no snap." Just then an awful voice.

Whose strange, unearthly sound left me quite scared.
Said : *' Yes, I think there is no other choice

Than to stop down and give it lots of time.

To snap at that would almost be a crime ! "

A sudden pain, my brain quick ope'd and closed,
" Ha, ha! " I smiled — " another plate exposed " —
Soon after that, I heard the same voice utter —
*' Now here's a bit where I can use the shutter,
I merely press this button and the camera does the rest " —
So he merely pressed the button on my summer under vest I

** Great Scott ! " I groaned, " I hope this won't last long.
I never was particularly strong."

Just then, to my amazement, did I see

The party that manipulated me.
Strutting around on three legs, as if it owned the place :
My camera (my best of friends !) and I were face to face !

Digitized by

Google

Then all grew blurred and dark. I knew no more

Till focused on a church interior, •

Where the stained light, poor in actinic powder,
Would need, I judged, exposure of an hour.

The voice remarked : " Ten minutes will suffice !

Ten minutes "

" Sir, I've had to call you twice!"

** Ten minutes, sir, is all the time you've got
To catch your train." I started as if shot.
Shouldered the partner of my tribulation,
And reached, barely in time, the railroad station.
I've registered a solemn vow I ever mean to keep,
Not to indulge in pickles before I fall asleep !

ONE REMEDY FOR PINHOLES

By Ottomar Jarecki

THE easiest way to account for pinholes in negatives is
to blame the plates. Once in a while this hits the case,
but in the majority of instances, the writer believes, the
trouble is entirely home-made. Starting out with the
supposition that the plates are carefully dusted before
they go into the plate-holders, that also these latter have been
dusted and the slides themselves, about all the precautions possible
at this stage have been taken. Attention might be called to the fact
that hard-rubber slides become electrical by rubbing, and special care
must be taken that no lint adheres. Many operators make trouble
for themselves by wetting the plates before development. This is
as likely as not to produce air bubbles, and afterward pinholes by
keeping the developer from touching the plate in these spots. Let
any one hold a plate under the tap and examine afterward in a good
light, and the chances are strongly in favor of finding small bubbles
here and there on the surface. Whether this comes from splashing
of water or other cause, it certainly does happen, and many have got
entirely over their pinhole troubles by leaving off this preliminary
wetting. It will also be within the experience of everybody that,
on lowering a negative into a dish of solution in the course of any
after-treatment of the plate, in this case as well small bubbles will
form which cannot be dislodged by rocking the tray. In either of these
instances all bubbles would be removed by a slight swabbing with a
tuft of absorbent or filtering cotton. Why not, therefore, apply this
remedy to the plate while it is in the developing dish ? This has been

Digitized by

Google

Digitized by

Google

Digitized by

Google

the writer's practice, and
has practically abolished
pinholes, such as arise
from dust on the plate.
The exposed plate is trans-
ferred to the dish without
dusting it, the developer is
poured on, and as soon as
the plate is evenly wet, a
swab of cotton is lightly
mopped over the surface.
This may then be squeezed
dry and hung over the
edge of the graduate, and
is thus kept clean and
ready at hand for the next
plate of the series. It is
true that a brush may be
and has been used for the
same purpose, but it is
more troublesome to keep
clean, absorbs much devel-
oper, and has other draw-
backs. Let any one
afflicted with pinholes try
this method, and I am sure
he will be able to report
progress.

It is also far from the

From the Studio

By Dana

universal practice, which it ought to be, to swab the negatives with a
wad of wet cotton after the final washing. Few water3 are free from
grit or floating particles that will make trouble unless removed at
this stage.

THE HANGING OF PICTURES

By F. C. Lambert

ONE of the points which is practically always ignored by
those responsible for the hanging of pictures in our exhi-
bitions is the point of view of the spectator, i. e., his hori-
zon relative to that of the picture. It does not seem ever
to occur to these merry gentlemen that, by hanging a
picture with, say, a low horizon low down, i. e., below the eye, or one
with a high horizon high on the wall, they are practically asking the
spectator to perform an impossible feat. Without going into the
physiological side of the question, it is a matter of fairly common
knowledge to every one (except the hanging committees) that, if you

Digitized by

Google

take a photograph pointing your camera upward or downward, you
can only get proper effect by holding the resulting print above or
below the level of the eye. This is easily seen in such pictures as
architecture, or most foreground landscapes, but is not quite so easily
detected in the case of portraits, although it is equally true there also.
The illustration facing this page is, among other points, designed to
show this point. The figure was posed so that the head was consider-
ably above the level of the camera, and the proper effect can only be
got by holding the print above the eye and head level.

It may be of passing interest to say, also, that the negative was
taken with an ordinary spectacle uncorrected lens of fairly long focus,
and was designed as a preliminary study to illustrate the late Lau-
reate's lines:

" The languid light of your proud eyes
Is wearied of the rolling hours."

— "" Lady Clara Vere de Vere"

FRONT GROUNDS

By Abraham Bogakdus

THERE are some qualifications necessary to make a good
technical photographer, viz., deft fingers, quick perception
and good judgment. For instruction in the necessary
manipulating, read all the formulas and advice given in this
publication, which, after being well shaken, are to be taken
daily. Again, to make artistic photographs other qualifications are
required. There must be artistic ability, native or acquired. If born
with this desirable gift, well! (It cannot be bought at the doctor's
shop.) Good hints are to be found within these covers — hints that
will be useful. Then, with good apparatus, pure chemicals rightly
used, head on straight, and considerable practice, the would-be pho-
tographer may succeed in making such work as is demanded by the
times. A pretty large undertaking. Success depends on the ability
of the individual. The writer must be excused if he thinks with
others that there are several persons in these United States who are
devoid of these qualifications, and yet they think they are photogra-
phers, when, in fact, they are only wasting plates and chemicals.
The above is not written to discourage, but is intended to stimulate.
When the proposed photographer thinks it is easy, with little or
nothing to do, or supposes that it can be done in a slipshod manner,
then he is destined to be one of the ** several " spoken of. When he
takes it up with the understanding that there is nice work to be done,
and is willing to do it, then he is made of the right material, and will
appreciate what has been written. The photographer of real ability,
possessing the qualifications mentioned, will at length obtain and hold
a reputation with intelligent people, if he keeps abreast of the times
and is on the alert for all advances.

Digitized by

Google

' The languid light of your proud eyes
Is wearied of the rolling hours."

— Tennyson's Lady Clara Vere de Vere

By F. C. Lambert

Digitized by

Google

Digitized by

Google

While there is art in photography, trying to run it into the realms
of imagination has not proved a success. Style and taste are desira-
ble, yet some things are to be avoided. Do not attempt to get so much
art in your pictures that they lack common sense. Art, as some per-
sons call it, is often overdone, making the sitter look ridiculous. Yovi
are dealing with common humanity, and not with angels. If your
sitters are to look natural, do not attempt to place them in imaginary
angelic attitudes, or anything outside the human. A late instance is
where the operator tried to imitate one of the old masters. A young
lady is pictured with eyes rolling up and a ready-tp-cry expression.
He called it a Madonna. It looked more like a--did you ever see a
calf die?

It is not to be wondered that some professionals of mediocre
attainments should make a spasmodic sensation, and for a time
eclipse their su-
periors. This
may be expected
from blustering
persons, or from
persons of little
brain, or who
are educated be-
yond their brain
capacity.
Showy signs or
loud advertising
are depended
upon to *' bring
grist to their
mill.'; If they
occasionally get

something fairly good, they think they are the greatest photogra
phers in America. Great photographers are as thick as blackberries
in North Carolina woods.

If the photographer should succeed in getting well up on the
temple of Fame, then great caution is necessary, as the upper steps
are slippery with vainglory, pride, self-importance, and self-conceit.
If he allows himself to be actuated by any of these, his prosperous
days are ended, he will fall, and be so disabled that he will never
regain his former position. The writer has been through the upper
and nether mill of photography, and knows whereof he speaks.

It is a great satisfaction to see the great advance photography is
making — advance in its literature, advance in execution, advance in
the estimation of the intelligent public, and advance in its usefulness
as it meets the world's demands.

May it continue until photography reaches the high destiny its
worth entitles it to! — which, by the bye, is much higher than its
present status.

The Midday Meal

By L, IV. Barringer, Jr.

Digitized by

Google

THE PARADISE OF SMALL PLATES

By James Reuel Smith

Ullustrations by ttie Author)

NEW YORK city is so richly endowed for the small hand
camera that it may readilv be accepted as the amateurs'
Eden.
Greater New York, stretching from the ocean to the
hills of Mount Vernon, and from the Palisades to the
island-dotted and Mediterranean-hued Sound beyond the white
sandy shores of City Island, offers through the changing seasons a
type of almost every subject in nature that can be met with in a tour
of the earth.

And the city's sceneries have the advantage that they are on a
miniature scale which a 4 x 5 plate can fairly well assimilate. It can-
not do justice to the majesty of the Colorado, its chasms and water-
falls, but the counterparts of these to be found on the Bronx are just
its size.

Snow^-topped Fujisan and the Alps, or the lakes of the Swiss

and the Italians are be-
yond its capacity; but
not so the individual
knolls of Astoria antl
Spuyten Duyvel in win-
ter, and the ponds of
Staten Island, Stein-
way, or Inwood in sum-
mer.

And the work-a-day
photographer whose
time is mostly engrossed
with affairs beyond the
borders of Art, need not
travel to the limits of the
quarter of a million acres
of the new city; for it
must be a very rapid
worker who shall be
able to exhaust in a long
round of whole and half
holidays the scenic and
other possibilities of
Manhattan Island alone,
A New York City Spring between Fifty - ninth

Kingshridge Road and 184//1 Street Street and Two Hun-

^(^

Digitized by

Google

d r e d and
Twenty - third
Street, to within
a few blocks of
any part of
which, the street
cars and the
western branch
of the Hudson
River Railroad
will transport
one from the
Battery inside
of sixty min-
utes.

Within a n
hour one may
pass from the
centre of the
most bustling
civilization t o
the aboriginal
w i 1 d n e s s of
what will some

To the Crow Hill Jail, Brooklyn

" Long is the way
And hard, that out of hell leads up to light."

— Paradise Lost

day be Two Hundred and Thirteenth Street,
near the Hudson, where but for the soughing of the pines, the
dropping of a pin might be heard ; and within the circuit of
a mile all the beauties may be found in a nutshell, of forest,
plain, and mountain, river, lake, and brook, and spring and
waterfall.

At approximately One Hundred and Ninetieth Street and the
Kingsbridge Road there is a cascade that starts from a height of two
hundred feet above the level of the river. Neither Niagara nor the
Yosemite has anything to fear from its rivalry, for part of the year
it is nearly dry, and its two hundred feet of descent is not one sheer
fall. Nevertheless, it is a doubting Thomas who will assert that it
was not specially planned for small hand cameras.

Then, again, the whole process of agriculture, from which, hap-
pily, are eliminated the steam threshing machine and other unro-
niantic concomitants of modern farming, may be portrayed from life
in the proper seasons on Manhattan Island. To-day, in July, 1899,
there is a flourishing corn-field at Fifth Avenue and One Hundredth
Street, a quarter of a block in extent, which was cultivated and will
be harvested just as in the case of a rural crop a thousand times as
large.

At One Hundred and Ninetieth Street and Eleventh Avenue a
much greater and more pretentious general farm is operated by a
colony of Germans, and ** The Angelus " in a hundred variations
may be reprochiced by means of no more witchery than the mere ut-

.31

Digitized by

Google

terance of a few polite words in broken English and two passes of a
dark slide, or even the pressure of a finger tip.

On nearly every avenue above Ninetieth Street there are still
whole blocks whose inhabitants dwell half a hundred feet in the air.
On Riverside Drive, at Fifth Avenue and One Hundred and Eigh-
teenth Street, and elsewhere, they have picturesque shanties, with
now and then a goodly tree, the last of once dense woods upon the
heights, where they live as secludedly and as primitively as their
congeners a day*s journey from the town.

A housetop*s height above their fellow-citizens, they pasture
their cow and tend their goats, and plow and sow, and raise their
produce on Lilliputian farms, separated one from the other by fences
curiously constructed with the most heterogeneous materials, living
unseen and even unsuspected by many of their richer but low-down
neighbors near-by. It is hard to decide whether these many little
settlements were made for small cameras, or small cameras con-
structed for them.

The amateur, however, whose time is limited, is not obliged to
ponder the question. It is sufficient that fortunately all of these and
many more subjects are still within a few minutes* distance of the
city's dark-rooms — so near that, if the exposures of the morning do
not develop satisfactorily by the luncheon hour, there is more than
time in the afternoon to profit, by the light of the forenoon's experi-
ence.

Many pages of the Annual might be filled with a condensed list
of good points of view and interesting objects, but with the fore-
going hints in mind the explorer will find more pleasure in making
his own discoveries. It may, however, be added that the trolley con-
tinuation of the Eighth Avenue cars runs directly to Woodlawn Cem-
etery, where an orthodox ox-team, and the only one to be found in
this neighborhood, is employed, and there are methods of posing
the team that leave no mournful suggestions. Also, there is at Fort
Independence Avenue and the Kingsbridge Road the only beam wall
to be found between Babylon and Pelham Bridge.

WITH A HAND CAMERA ON A PILGRIMAGE

By Miss Adelaide Skeel

(Illustrations by the Author)

WHEN Sure-Foot heard that his cousin Alice proposed
to go on a photographic pilgrimage through New
England which is mostly Massachusetts, he urged
upon her his little two-and-a-half by three-and-a-
quarter hand camera.
" But I am used to my five-by-eight box," she demurred, " and
like my namesake in * Wonderland,' shall feel * curiouser and curi-

Digitized by

Google

'^'Oi^

Engraved by

Tcachinor-Dartberger Eng. Co.,
Kansas City, Mo.

LANDSCAPE STUDY

By Henry Wenzel, Jr.

Digitized by

Google

Digitized by

Google

oiiser,' and think myself growing smaller every minute, shutting up
like a telescope with your tiny toy."

Sure-Foot persisted.

" David would not wear Saul's armor because he had not proved
it/' the girl argued, " but preferred to draw near to the Philistine,
with the five smooth stones from the brook and the sling in his
hand."

" David was not progressive," replied the cousin.

*'He killed Goliath," Alice retorted. But she accepted the loan
of " Wee- Wee."

Her friends rallied around her when it was known she was to
leave her usual outfit at home. One remembered its weight, another
its numerous accessories, while all recalled the girl herself, envel-
oped for hours under yards of black rubber cloth, emerging at inter-
vals to gasp out, "Please wait another minute. I am getting every-
thing ready." Wee-Wee was
no misfit, and neither man,
boy nor woman dreaded asso-
ciation with such an airy fairy
concern.

" She cannot keep us wait-
ing forever," one said. To
which another added, " Nor
can she make beasts of burden
of us or herself with that
small affair."

Nevertheless, successes
with a hand camera pure and
simple rarely overcrowd a
souvenir album. Sometimes
it is too dark for a snap ; some-
times the angle of the lens
refuses to take in both sides ^
of a street; sometimes in a Old Street in Plymouth
panoramic view the distance is so minimized as to lose all beauty;
sometimes buildings are so high, the box must be tiptilted to get
the roofs. Hence a toppling-over effect; while, again, mechanical
difficulties occur. The film rolls not on its reel, the key turns
not on its pivot, and figure one, as seen in the red disk, refuses to
give place to figure two; and when this last disaster overtakes
the unwary, and twelve successive exposures are made on one
bit of two-and-a-half by three-and-a-quarter sensitized gelatine, the
result is one composite and eleven blanks.

It was through these various mischances that Alice, on her pil-
grimage through Cambridge, lost the celebrated Washington elm, to
get which she imperiled her life by standing in front of a trolley car ;
also John Har\'ard's statue, and the Puritan's. John Harvard, since
it was Class Day, seemed indifferent, but the Puritan gazed at her

Digitized by

Google

with a steadfastness that later
made her failure a double
mortification.

The day was clouded when
the Concord pilgrimage was
made, hence the "Wayside,"
Emerson's house, " Little
Women's Home," and other
celebrated shrines left no
images on the hand camera
film, and only the invincible
" Minute Man " against a
gray sky came out in bold
relief.

At Plymouth more suc-
cesses were scored, and,
although a few landmarks

were lost, Plymouth Rock, w ., w t • a

J .. ' ^ T» • 1 Minute Man, Lexington

under its stone canopy ; Burial

Hill, with the old fort's site; the National Monument to the Fore-
fathers, besides a few historic streets and houses, redeemed the
record. The day itself was perfect, and the Pilgrim Fathers could
hardly have landed at a more photographic sjwt. The blue sky and
the blue sea lend a glare whicli snap shots need ; moreover, so distinct
are the personalities of Miles Standish, John Alden, and Priscilla, the

■ *^F

%T^r'

• r . ,.. *^ ***

■

jpr 'I^I^^K

Kdj^HlffiXf

^j^gj^m^

*pH '

Burial Hill, Plymouth

Puritan maiden, in this unchanged New England atmosphere, that
one could not easily fog their memories.

'*lf only I had my view camera," Alice sighed, as the greatness of
Plymouth overcame her. Alas! Wee- Wee heard her words and
angrily refused to snap again, so the pilgrimage ended.

Digitized by

Google

LENS NOMENCLATURE

By Dr. John Nicol

NOTHING has done so much to retard the progress of pic-
torial photography as the present popular method of desig-
nating photographic lenses according to the sizes of plates
that they may be made to cover satisfactorily ; i.e., to speak
of them as a 5x7, and 8x10, a "half plate," or a " whole
plate lens.*'

From the optician's point of view, the best lens is that which,
with a given length of focus and a given aperture, will give the most
perfect definition over the
largest size of plate; and,
with a view to show the
degree of perfection to
which they have attained,
makers have got into the
habit of introducing into
their price-lists a column
in which those sizes are
mentioned. Ninety - nine
per cent, of the buyers of
lenses know less about
them than about anything
else connected with pho-
tography; and, not un-
naturally, take it for
granted, when they see,
say, " 10x8" among other
features of a lens, that it is
intended for that size of
plate, hence the mistaken
nomenclature.

Camera makers , those
who put on the market
cameras fitted with lenses,
have followed suit. The
cost of lenses increases in

A Berkshire Road, IV inter

By R. E. Schouler

proportion to the increase in their length of focus; and as compe-
tition is keen, it is also natural that they should adopt the optician's
point of view, and supply the shortest lens that will cover the size of
plate that the camera is made for, as the shorter the lens the lower
the price of the camera, or the greater the profit of the dealer.

The result is that probably ninety-nine per cent, of all the lenses
at present in use are little longer than the base-line of the plates on
which they are employed, and some of them are even shorter, giving

Digitized by

Google

to the photographs thus produced an apparent falseness of perspec-
tive that is always absurdly far from truth, and often simply ludi-
crous.

The principal feature of a photographic lens, from the point of
view of a pictorial photographer, is its focal length, which should
never be less than once and a half the length of the longest way of
the plate ; and twice that length is very much better, say, for a plate
of 7x5, 10^ inches at least, but much better 14 inches.

Here is the sum of the matter. The optician should substitute
for the size of plate the diameter of the circle of good definition. The
photographer in speaking or thinking of a lens should give pre-
cedence to its focal length, to be followed by the name which desig-
nates its nature or constniction ; as, a fourteen-inch rectilinear, an
eight-inch anastigmat, etc. ; and the maker of cameras already fitted
with lenses should not sacrifice utility to cost, but produce outfits
capable of telling something like the truth.

THE CAMERA IN JAPAN

By Charles M. Taylor, Jr.

{Illustrations by the Author)

IT may be of some little interest to readers of the International
Annual, and to those planning a trip through foreign countries
like Japan, China, and kindred localities, to know the expe-
riences of some of those who have trod this country mile upon
mile, with the camera as a dear and close companion. It often
seems, however, that, no matter how much information or advice is
given, there is a charm about the individual experiences, and they
are sometimes the better school from which to learn.

My outfit for photographing subjects in a three months' tour
through Japan was supposed by me to be the most ** convenient " and
" ever-ready, up-to-date " apparatus ; but not so, for, much to my
disappointment, the reality was far from the above well applied
names.

Generally speaking, Japan is a much damper climate, and espe-
cially at certain seasons, than many tourists imagine, and a camera
is sensitive to the variable changes of weather — heat or cold, wet or
dry — ^and will surely suffer damage therefrom. I would therefore
suggest, as the best remedy to counteract these whims of nature, a
camera constructed of vulcanized rubber or aluminum in substitution
for wood.

In traveling through a country where railroads and hdrses are
seldom seen, and w^here the sole means of transportation are by
'* shanks mare " and the " jinrikisha," one must provide against the

Digitized by

Google

By A. L. Jackson

Engraved by

National Photo Engraving Co.,
New York

A CONVENTION PRIZE WINNER, P. A. OF A., 1899

Digitized by

Google

Digitized by

Google

constant exposure to variable weather The protection to body and
camera, therefore, is an important problem. The body must be kept
dry and .warm, and the camera dry.

Mile after mile I have tramped over muddy roads, and in storms
that would be a credit to the log of an ** old salt." At such times
baggage is carried upon the backs of coolies. Three times, when
attempting to ride in a jinrikisha over such roads, I was dumped
headlong into mud and water over ankle-deep, with my valued
cameras rolling at my side — a pitiable sight indeed.

I would recommend that glass negatives only be used, as the
most reliable. It is true their weight and bulk are somewhat against
a decision in
their favor, but
the results will
be more satis-
factory than
with any sub-
stitute. I cap-
tured several
hundred expo-
sures of rare
and valuable
subjects, and
upon my re-
turn to Yoko-
hama, at which
place I had my
negatives (roll-
films) devel-
oped, I was
surprised to
find from fifty
to sixty per
cent, ruined by
moisture. O f
course, moist-

■

1 ai

"■"

■*ia

■n

■

2i^

^$. pHl

■^ ^ 'vl 1 _^

■

■Jj^^jL-j^,. . ^

■

^^^^^

■

i/}^\i . A

^ ^^M^^^^^Bii

^^H

f/MJI^M' 1

1 :^i^^^^^^^ll

^^ \v>9^^^^^^^^^^H

LfJkL ^ .. . ^

yiew from My Room, Interior of Japan

ure will equally aflfect glass negatives; but glass in single cases can
better be protected than a roll of film of twenty-four exposures.

I met a gentleman at Sendai who was sent professionally from
the United States to make a series of Japanese subjects, and he told
me that he had with him three cameras of the same size (5x7) and
used only glass negatives. The negatives were hermetically sealed in
a light-tight tin box, which in turn was placed in another box simi-
larly sealed. He assured me that even with this precaution he
had to count on a certain percentage of damaged plates caused by
moisture.

Take at least two cameras of the same size, for you cannot buy
with " love or money *' cameras nor their belongings in the interior

Digitized by

Google

of these countries. In Kioto T offered one hundred dollars for any
kind of a camera, new or old. and of any size or make, and spent two
days trying to purchase or find one, and finally gave up Ijie chase
broken-hearted.

Heaven save some of the highways in Japan ! This cannot be said
of all the roads, for some are in good condition and repair ; but, when
one strikes the interior, the roads seem to depend entirely upon
Nature's cures, which, I assure you, are as scant as the clothing that
covers some of the bodies of the natives.

Let one take a rubber cloth, made light-tight and in tent form, to

snugly fit the

tripod when
placed open up-
on the floor. It
wdll be a handy
and almost nec-
essary article,
under w^ h i c h
one can change
the plate-holder
and occasion-
ally develop to
test correct ex-
posures, etc.
You will not
find light-tighi
rooms or dark
corners in the
inns when trav-
eling in the in-
terior of Japan,

nor will there be handy closets or wardrobes, as in our hotels,
wherein you can retreat to change your plate-holders. This tent
can be made light in weight and compact in space.

The camera, 1 would suggest, should be placed in a waterproof
case, and this fitted into another similarly covered and impervious
to rain and dampness.

These precautions will insure to the enthusiastic tourist the best
results, and the many hundreds of novel and interesting subjects
will more than reward him for his trouble and expense as regards his
camera outfit.

Stone Lanterns at Temple, Nikko

.^H

Digitized by

Google

PHOTOGRAPHING FLOWERS

By James Shepard

{Illustrations by the Author)

THE present fad in flower photography is white flowers on a
jet-hlack ground, and the enthusiastic operator glories in
the striking eftect that makes the flowers stand out so
boldly. This may be well enough to illustrate the wonders
of photography and show what an unnatural representation
of a flower may be made, changing it from the slender graces of a
real flower to the stiff and marbleized effect of a tombstone in outer
darkness. Such pictures remind me of the resolution once introduced
into the Common Council of Hartford, that the lamp-posts might be
whitewashed so that they could be seen in the night. No doubt there
would be a strong contrast between the white posts and the dim
lights surmounting them, but a more pleasing effect might be given
with better lighting and less contrast.

So in photographing flowers, all glaring contrasts should be
avoided. While every perfect picture should have some jet-black
and pure white, the two should be harmoniously blended, for large
masses of solid black and solid white will spoil any picture. A back-
ground should always be chosen that is somewhat in contrast with
the flower, but not to an excessive degree. For example, white or
blue flowers should be photographed on a gray or tinted ground and
never on black. A red or yellow flower may be photographed on a
white ground. Of course, the exposure and developing may some-
what modify the difference between the background and the flowers.
If one desires strictly a photograph of a flower or flowers as dis-
tinguished from a photograph of a decorative piece, or a flow^er
combined with a photograph of some other subject, the best way is
to sew the flowers on a sheet of cardboard or equivalent backing of
the proper shade. By a little pains the thread may be passed over the
stems w-here it will be hidden by the leaves or other parts of the
flower, and the plant or flower can be easily spread out and fastened
in any desired position. They may thus be brought more nearly into
one plane so as to be easily focused, while the flow-ers and leaves may
be twisted, turned, or backed up to present the desired faces to the
camera. In lieu of sewing, the flow^ers may be gummed or pasted on
the mounting. For small plants this method of arranging permits
the roots and branches as well as the flower to be properly displayed,
thereby making the photograph botanically useful. The mounted
flower or plant is best placed for photographing where a soft light
falls on it mainly from one side so as to better bring out the delicate
markings, and even if shadows, not too marked, show on the back-
ground the effect is all the more artistic. The accompanying illustra-

Digitized by

Google

Japanese Rose

tion of a white Japanese
rose was taken from a rose
sewed upon a gray card-
iDoard mount and photo-
graphed by a side light from
a basement window.

While most flowers,
either singly or collectively,
can be best shown by
mounting on a suitable card-
board, there are flowers that
may be shown to advantage
in a vase or other receptacle,
and if the receptacle is trans-
parent so as to show the
flower stems a pleasing
efl^ect is given. But when a
vase is used the photograph
should be made with the
idea of showing the flowers
instead of the vase. We put
flowers in a vase to make
them keep, and not for the

purpose of improving their appearance, and there is no reason
why they should be put into a vase for photographing unless
they can be arranged therein so as to show the flowers themselves
to better advantage. If one desires to show a " rose without a
thorn," they can hide the stem, the leaves, and the thorns in an
opaque vase, while the rose itself barely shows above the moutli
of the vase,; but it is better to show something besides the mere
flower and vase, for the stem, the leaves, and the thorns give to
the rose its beauty and poetry as much as does the rose itself.
They were all made to grow together, and no photograph is either
natural or artistic that does not show the characteristics of the
flower. Crowded masses of flowers such as floral pieces cannot show
what the flowers are. They may be photographed as decorations, but
not as flowers. Unless arranged loosely so that individual flowers are
distinctly separated from the others, the character of the flowers
cannot be photographed. When a vase is employed in flower photog-
raphy, a good background may be arranged by placing a stand near
a wall, spreading a cloth over the stand as a spread, letting it extend
upwardly therefrom on the wall, and then placing the vase on the
stand in front of the upright portion of the cloth, so that the back-
ground both under and behind the vase may be one and the
same thing. A little time and care will enable the cloth to be
arranged smoothly, and it is not necessary that the cloth shall be
strained.

We can avoid the question of how to arrange flowers for photo-

Digitized by

Google

Digitized by

Google

Digitized by

Google

graphing by taking them as we find them growing in their homes,
and then their own natural surrounding is a much better and more
artistic background than any artificial one, like a piece of white cot-
ton cloth tucked around their feet One writer says, " The camera
must never look down, or up, on a group of flowers, as it will distort
them, and will spoil the eflPectiveness of the design." This is true
when the flowers are mounted on a card or where long straight lines
show in the field ; but in the absence of straight lines or planes, the
camera may be tipped into any position that will best show the faces
of the flowers. With small flowers that grow close to the ground it is
impossible properly to photograph them without tipping the camera
so as to point the lens downwardly on the flowers, and no bad effects
whatever result therefrom. There is a field of invention for some
one to make a special tripod for botanical work that will conveniently
bring the camera into any desired position while close to the ground.
With the ordinary tripod the flower photographer is often put to his
wits' end to get his camera into the desired position. The camera
may be tipped sufficiently to confine the view to a small area and thus
avoid showing any distant field. Any objectionable sticks or leaves
may be removed, but a few leaves or ferns such as nature places there
to keep the flowers company are desirable. The accompanying illusr-
t rat ion of bloodroot blossoms is from a negative by E. M. Hulbert, of

Bloodroot Blossoms

Digitized by

Google

New Britain, taken in the field. It would be hard to find a better
photograph of small flowers as we find them in nature. This picture
proves that it would be no improvement on nature to change the
background to either black or white. The picture is beautiful
because it is perfectly natural. How nuich better it is to have a pic-
ture made striking by being natural with harmonious tints, than to
make it striking by having it unnatural with coarse contrasts, like
alabaster flowers on an ebony ground !

With a good lens of short focus, the flowers in the foreground

may be made
large,

quite
and at

the

same time
show a more
distant land-
scape in proper
focus. A pond
with water-
lilies is a good
subject for such
a view. The
tripod legs can
be so set in the
water that the
camera will be
brought down
close to the
flowers in the
fore ground,
from which
they merge
gradually into
the distance.
The illustra-
tion of water-
lilies herewith
was made in
this way

There is no

end as to what may be done in flower photography, but the prin-
cipal aim should be to represent the flowers as naturally as possible,
instead of striving for unnatural eflFects. For botanical pur-
poses we must also strive to show as much of their character as pos-
sible in root, branch, leaf, and flower. Some advise that light-colored
flowers should be used, as the dark varieties do not photograph well,
but good results can be had with dark flowers. If growing plants are
taken, we generally find the darker flowers surrounded by some
lighter shade, and if we pluck them for photographing we can easily

Water Lilies

Digitized by

Google

give them a lighter background, and with proper lighting and expo-
sure good results can be obtained. It is certainly easier to photo-
graph some flowers than it is others, but a true lover of flowers and
photography will be ever ready to photograph any flower, of any
color or size that ever grew, and with fairly good results, whether
the flowers are light or dark, large or small.

FLASH-LIGHTS

Bv H. Crisp

{Illustrations by the Author^

NO trouble need be experienced by the photographer who
wishes to try this means of exposure, as long as he confines
himself to pictures of moderate-sized groups, rooms, etc.;
but if he aims high and desires to photograph large groups
or large interiors, then the difficulties thicken, and success
is sometimes very dearly earned. One thing should be impressed on
any aspirant for flashlight honors, and that is, never to take a picture
by artificial light that can be obtained by daylight. No doubt, the
fact of being able to take negatives by night and get a passable result
is a step in advance, and of
great utility in some cases
where photographs are taken
that would otherwise be im-
possible; but so many bad
pictures are taken by night
that could just as w^ell be
taken by daylight with a
much better result, that a
word of advice is, I think,
not out of place.

A very good mixture for
a flash powder which I have
repeatedly used is as follows :

Picric acid 37.5 parts.

Chlorate of pot-
ash 50

Powdered mag-
nesium 12.5

This must be very care-
fully handled, and mixed
preferably on paper with a
bone spoon, as the picric acid
is a dangerous explosive.

Digitized by

Google

Only mix small lots at a time, and at once weigh out and fold up in
packages of, say, lOO grains, which stow away in a large-mouthed,
stoppered bottle. The theatrical group shown was taken by means of

150 grains of this
powder, which was
placed, 50 grains on
one tin plate and 100
grains on another,
and the two ex-
ploded simultane-
ously, one on each
side of the camera,
the group being
taken in a drawing-
room. The powder
burns very quickly,
and is practically in-
stantaneous.
"■ ^^^^"^^ /H ^ This, to my mind,

I H I I ^^ ^^^ ^^^^ method

I H ^^L I I ^^^ ^" amateur to

I H ^fl' I I adopt, as no appa-

I H ^^M H I ratus whatever

^°^T^~^ 'Hfr^^^H^>!9PiB9^|jH| required for gener-
■ ^^^ ~ ating the light. The

powders may be
carried in the waistcoat pocket, and an old piece of tin or iron is
always procurable on the scene of operations.

The illustration of machine shown was built for use in photo-
graphing large interiors, and has been most successfully worked. It
is most portable, folding up into a space 2 feet by 7 feet by 6 inches ;
carries 70 lamps, which are connected throughout by metal tubing;
and is backed by bright tin-
plate reflectors.

Either one or more or the
whole of the divisions may be
used at the one time, the mag-
nesium powder being blown
through a spirit flame by com-
pressed air from the drum
here shown, which is pumped
up to the necessary degree by
means of a bicycle pump, and
connected where marked with
rubber tubing. Each separate
lamp shown consists of a receptacle for the spirit, packed with
cotton w^ool, and covered with a circular piece of wire gauze, through
which the pipe conveying the magnesium is carried, and in turn con-

Digitized by

Google

nected with the main air-pipes. Plates up to 22x18 have been
exposed with the light obtained by flash from this contrivance on
subjects such as a large ball-room during the intervals between the
figures of a quadrille, the auditorium of a theatre taken from the
stage during an interval in the performance, etc., with most satis-
factory results.

Note. — We would emphasize the warning with reference to the
handling of the powder made by the formula named, as there are
scarcely to be found two more active and vicious agents in combina-
tion than picric acid and chlorate of potash. — Editor.

SKIES IN LANDSCAPE PHOTOGRAPHY

Joseph F. Smith.

WHEN we consider the attention given to skies by
landscape painters, we are made to wonder why they
have received so little attention at the hands of land-
scape photographers. Perhaps the fact, soon discov-
ered by the early photographers, that blue and white
are about equally powerful in their action on the salts of silver in
the plate, has been so thoroughly ground into the users of the
camera by books and teachers as to make them despair of ever being
able to produce anything else than white paper skies.

Digitized by

Google

But there are reformers in photography as well as in other things,
and there have arisen two schools of reformers who essayed the task
of teaching photographers to represent the sky by something else
than white paper.

The one headed by such men as H. P. Robinson, A. Horsley
Hinton and others, teach us that the best results are to be obtained
by " printing in" suitable skies from separate negatives made espe-
cially for the purpose. While no one can deny the exquisite beauty
of some of tlie results obtained by the master advocates of this
method, it must be evident to all that a large number of such nega-
tives must be made and kept on hand — a serious task to many ama-
teurs who do creditable work, but yet are not able to take photogra-

On the Uplands

By Joseph F. Smith

phy so seriously. It nuist be granted, too, that often a beautiful
foreground may be obtained when it is impossible to obtain at tlie
same time a suitable sky, and the picture may be greatly improved
by a suitable " printed in " sky.

The other class, working along photo-chemical lines, have tried
to eliminate the unequal chemical action of the colors of the spectrum
by rendering the plates more sensitive to those at the lower end of the
spectrum, or by screens to protect the plate from part of the violet and
blue rays, thereby securing better equality of color value, making it
possible to hold back the blue of the sky sufficiently to bring out the

white and gray of the clouds.

Digitized by

Google

From the second method has come an abuse quite common that
is even worse than the original difficulty ; viz., that of using screens
of too deep color, and giving far too short exposure, so that the blue
of the sky is rendered black, and the white clouds look as if pasted on
the black background — a false tonality — far worse, if possible, than
white paper skies. For the landscape photographer, who has not the
time to make a large collection of cloud negatives for printing-in, the
screen and color sensitive plate will secure better tonality if properly
used. But the screen should be far less dense than those often used,
and longer exposure should be given. A good slow plate having the
full isochromatic effect, such as Cramer's slow isochromatic, will
without a screen render clouds perfectly when present in land-
scapes, or, when not present, they will with proper manipulation
give a true tonality that will overcome the harsh contrasts between
foreground and sky.

METHOD OF USING BROMIDE PAPER

Bv Henry F. Raess

A GREAT deal has been written on methods of using bromide
paper, and much more will undoubtedly be written on this
subject, especially as papers requiring development are so
much in vogue. Each writer endeavors to simplify the
various steps in the manipulation, and to interest and
instruct the amateur in its use. The term bromide paper is a slight
misnomer, as the emulsion contains also iodide. A better name would
be ** bromiodide," to distinguish it from the new papers which only
contain silver bromide and have a white color. The latter are far
less sensitive, as they can be exposed and developed by gas or oil
light, and consequently are unsuitable for making enlargements. The
highly sensitive " bromide '' paper also contains silver iodide, which
makes it more sensitive and colors it yellow. I shall only consider
the latter, the so-called '* bromide " or bromiodide.

At present, in France, enlargements made from small films or
plates are very popular, so why not here? Small cameras are con-
venient, but small pictures are not desirable. The difficulty of making
enlargements has been very much reduced by the fact tliat several
camera manufacturers have placed cheap cameras on the market for
enlarging small pictures, and the amateur is no longer debarred from
making his own enlargements.

But to come to the subject proper. Since bromide papers give
contrast, negatives rich in detail should be chosen. The paper is
placed in the printing frame in the usual way, small pieces of paper
being used to gauge the exposure. If any doubt exists as to which
side has the sensitive surface, it may be distinguished from the other

Digitized by

Google

by its finer appearance and by the edges curling with the film inside.
For the exposure, sun or artificial light may be used. The writer
prefers magnesiiun ribbon. A short piece suffices, from one-quarter
to one inch in length, held at a distance of two feet from the printing-
frame. To ignite the ribbon, an alcohol lamp is used, which is kept
burning in the dark-room while making a batch of prints. It is an
advantage to place a pinch of common salt in the wick, as it gives
more light to see by, but the light, being yellow, does not affect the
paper.

In the early days of bromide paper no developer gave such good
results as ferrous oxalate ; but some of the newer organic developers
give equally good results without the liability of iron stain. Organic
developers for bromide papers should be much stronger than those
for plates. The developer should be made to constant strength, and
the exposure gauged accordingly. The developer may be made in
bulk, and kept in small bottles filled to the neck and well corked, pre-
ferably with rubber stoppers. If corks are used, the bottles should
be placed on their sides. When properly prepared, the developer will
keep for many months and is ready for instant use. The keeping
qualities of the developer depends very much on the purity of the
chemicals, especially the sodium sulphite, a purer article being neces-
sary for bromide paper than for plates. Care should, therefore, be
taken in its selection. A good developer may be used several times
if carefully bottled after using, but when it becomes very dark or
gives bad tones, it should be thrown away.

Before development, the print should be placed in cold water until
limp. This insures the paper lying flat and gives even development.
The development should be rapid, about two or three minutes. If
continued longer, the picture becomes foggy.

DEVELOPER.

Potassium carbonate 3 drams, or 1 1.700 grams.

Potassium bromide 3 grains, " 0.195 *'

Sodium sulphite 7 drams, " 27.300 "

Hydrochinone 40 grains, " 2.600 "

Metol 10 " " 0.650 "

Water 16 ounces, " 480 c. c.

The water should be heated to nearly boiling, and the chemicals
added in the order given. Each chemical should be dissolved before
adding another. The solution should be colorless, and should be
filtered, if necessary, before use or bottling. The above developer
gives platinum grays and blacks.

FIXING AND HARDENING BATH.

Sodium thiosulphate 8 ounces, or 240 jjams.

Sodium sulphite 4 drams, " 15 "

Alum, common 5 " " 19.5

Acetic acid, 25 per cent 5 " " 19 c. c.

Water 25 ounces, " 750 c. c,

Digitized by

Google

■ %

>^ii'.^^'

•'*'■■ .,; : ' ^.

;i mm-

lil^M^ta

Digitized by

Google

Digitized by

Google

The sodium thiosulphate and sodium sulphite should be dissolved
in fifteen ounces of water, and the alum in the remainder, and the
acetic acid added to it. When all are dissolved^ pour the alum solu-
tion into the sodium salts solution. This fixing-bath may be used
until exhausted. A small amount of acetic acid should be added
occasionally to keep the bath acid. If the bath becomes neutral or
alkaline, aluminium hydroxide will precipitate and the prints are
likely to stain. If many prints are to be fixed, it will be found advan-
tageous to pass them through an acid bath before fixing This bath
instantly arrests development and tends to preserve the fixing bath.

ACID BATH.

Acetic acid, 25 per cent 3 drams, or 12 c. c.

Water 16 ounces, " 480 c. c.

After using, the acid bath is thrown aw^ay. After fixing, wash
as usual, say one hour. If sepia tones are wanted, the following
bath should be made :

Common alum 4 drams, or 15.4 grams.

Sodium thiosulphate 3 ounces, " 90 "

Water 15 " " 450 c. c.

Dissolve the sodium thiosulphate in eight ounces of water, and
the alum in the remainder. The water for both solutions should be
hot. When all are dissolved, mix the two solutions. The liquid will
immediately become milky in appearance, due to the precipitation of
sulphur. This bath should not be filtered. As a fresh bath does not
work well, to improve it some pieces of bromide or printing-out paper
should be allowed to soak in it, or a little silver nitrate solution added.
To use this bath, the prints should be fixed in the alum bath men-
tioned above, and dried. The toning-bath should be heated to about
125° F., the prints immersed, and allowed to remain until they
assume the required color. It may also be used cold, but takes a long
time, sometimes days, and the tones are less red. It may also be used
for reducing overdeveloped prints, in which case it should be used
cold. If the picture is overdeveloped, is too dense and requires
reducing ; if the sky needs clearing, or "pencil marks'' need removing,
the following three solutions should be made :
No. I. Sodium thiosulphate i ounce, or 30 grams.

Water 10 ounces, " 300 c. c.

No. 2. Potassium ferricyanide jounce, or 15 grams.

Water 10 ounces, " 300 c. c.

No. 3. Potassium cyanide i ounce, or 30 grams.

Water 10 ounces, *' 300 c. c.

These solutions should be kept separately.

After fixing, wash the prints slightly in water; then apply the
potassium cyanide solution, allow to act a few moments, then pour
off, and wash slightly ; then apply with a tuft of cotton wool a mix-
ture of equal parts of the other two solutions, allow to act only a

Digitized by

Google

moment, and wash under a stream of running water. These solu-
tions are alternately applied until the necessary reduction has been
made. Care should' be taken not to allow the potassium ferricyanide
mixture to act too long, otherwise a stain may result which is difficult,
if not impossible of removal. After this treatment the prints should
be placed in the alum fixing-bath for a few minutes, and then washed
for one hour in running water. Ammonium persulphate may be sub-
stituted for the three reducing solutions mentioned above. This com-
pound has been highly lauded as a reducing agent (photographically
speaking), and it should have a great advantage over potassium ferri-
cyanide because of its non-staining qualities. Experiments conducted
by the writer, however, have not been very satisfactory, though other
workers seem to have found it of great value. See Anthony's Photo-
graphic Bulletin, April-May, and June, 1899.

If prints are to be mounted and need trimming, they should be
dried, and placed under pressure at least twelve hours before they
are trimmed. To mount, soak well in water, and place the print, face
down, on a plate of glass, squeegee out all superfluous water, apply
the paste, and then place the print on the mount and squeegee in con-
tact. If the prints are mounted dry, it will be found difficult to get the
edges to stick properly.

Death

By Henry F. Raess

AN ABBEY GATE-HOUSE IN LINDSEY

By T. Perkins, M.A., F.R.A.S.

{lUustrations by the Author)

DURING the early part of 1899, lecture engagements led
me to that part of Lincolnshire which is known as Lind-
sey, and, as usual, my faithful companion the camera
accompanied me. It was new ground to me, and I had
hoped to be able to do some landscape work, for w^as I not
going to visit the neighborhood which has produced the greatest poet
of modern times ? And I thought that the country which had nur-
tured his boyhood must have been marked with a certain quiet pictur-
esque beauty, that would have lent itself to photographic reproduc-

Digitized by

Google

tion, but in this I was doomed to disappointment. True it is that I
could not visit his birthplace, Somerbv, or the beach where he
" Wander'd nourishing a youth sublime
With the fairy tales of science, and the long results of Time ; "
and, moreover, it must be remembered that sixty or more years of
modern scientific farming has done much to change the face of the
country. To use the poet's own words.

** Art and Grace are less and less,

Science grows and Beauty dwindles — roofs of slated hideousness "
have taken the place of the old thatch with its rich brown and golden
moss.

The surface of the land, is gently undulating, and is cut up into
cultivated fields. I saw no furzy commons or heath land, or wide-
stretching commons, such as those that give a charm to my own
Wessex. The roads are wide, and for the most part have on one
side a broad space of turf for the convenience of riders. Windmills
are not uncommon features in the landscape, though I was told they
are getting fewxr in number every year, steam, which can always be
relied on, taking the place of the uncertain wind. One miller, indeed,
who owned two windmills not far apart, is said to have recently
pulled down one of them on the ground that possibly there might be
enough wind for one, though there was never enough for two. Those
that I saw were certainly not of a picturesque type, smooth, slightly
tapering, truncated cones in shape, and generally painted black.
Everything about the country was far too trim for picture making.
So I turned my attention to architecture.

Though Lindsey does not contain many of the celebrated parish
churches of Lincolnshire, yet there are some of great interest ; Barton
upon Humber, with its Saxon tower, and Stow, where in 678 Egfrid
built a church which became the bishopstool of the new diocese of
Undsey cut oflf from the huge Northumbrian see of Wilfred. Of
course, the chief glory of the district is the cathedral church at Lin-
coln, with its three stately towers crowning the steep hill that rises
above the Witham. Here may be seen the plain, massive Early Nor-
man of the west front, the Early English of the nave, transepts, and
St. Hugh's choir, and the magnificent Early Decorated of the Angel
Choir or Presbytery. Here the photographer might with advantage
spend many a long summer day. My visit was of far too short dura-
tion, for it was in the wanter I was there, but no more perfect day for
the time of year could be imagined ; and as the train took me to the
eastward out of the city, the Minster, lit up by the pale rosy flush of
sunset, stood up against the tender blue of the cloudless sky behind
it, above the thin haze that hung over the river — a very dream of
loveliness.

But the great cathedral churches are known to most travelers, and
are visited by thousands every year. Photographs of them are to be
found in all the stationers' shops for miles round. Far more good

Digitized by

Google

may be done if the photographer, whose object is not a pecuniary one,
will visit the out-of-the-way country churches, and obtain negatives
of interesting features which the hand of the restorer has as yet left
untouched. Some such are still to be found. It is of interest to try
and read the story of these humbler buildings, never written down on
paper, from the walls themselves.

And in many instances, too, away from the beaten tourist track,
we may find remains of the great religious houses which once
abounded in England, most of them in ruins, mossy, weather-stained,
picturesque. In some cases, partially converted to modem uses as
dwellings and farm buildings; in others, after several centuries of
neglect, carefully preserved by the present landowners. Ruins of
Cistercian abbeys are frequently met with in the midst of picturesque
surroundings, not because the founders had an eye for the beauties of
nature, but because the spots were wild, far from human abode, and
therefore singularly fitted to be the dwelling places of these hard-
working monks, provided that there was a river whence they could

obtain their fast
day fare of fish.

Lindsey could
once boast of a
splendid abbey,
Thornton by name,
which, however,
was not inhabited
by Benedictine or
Cistercian monks,
but by Canons
Regular of the
Order of St.
Augustine. Little
of the church re-
mains ; there are
some traces of the
foundations ; two
walls of the oc-
tagonal chapter-
house are standing
(these are of early
fourteenth century
work), and some
small rooms ad-
joining it and part
of the domestic
buildings are in-
corporated in a
farm house ; but
the one unique

Gatehouse, IV est Face

Digitized by

Google

feature is the Gatehouse, the largest and grandest one to be
found anywhere in England. This is in an excellent state of
preservation, and from its large size and the magnificence of the
rooms which it contains seems to have been something more than an
ordinary- fortified gateway, admitting the Canons and visitors into
the abbey inclosure, and capable of warding off the attacks of an
enemy. It has been conjectured, not without reason, that it was used
as the Abbot's residence. It stands just within the moat, and its
outer or western face, though highly decorated with niches and
statues, is unpierced by any windows. The moat was crossed by a
drawbridge, which, however, gave place to a permanent roadway
carried on a brick bridge, defended on either side by walls. This may
be as late as the reign of Henry VIII. The Gatehouse itself is built
of brick with stone dressings, and two flanking w^alls on the western
face give it an appearance of being wider than it really is. The
building is of three stories. The ground floor is occupied by an arch-
way, with rooms on either side. The first floor formed the large hall,
lighted by a window at the south end, and from the eastern side
of this projected the oratory, lighted by a magnificent oriel window,
the exterior of which is shown in the accompanying photograph of

Gatehouse from Southeast

the eastern face of the building. Access to this hall was gained by a
newel staircase, the door at the bottom of which may be seen in the
same picture, and the groining of the roof which is specially note-
worthy. The ceiling of the hall dividing it from the chamber or
chambers above has disappeared, and the roof which now^ protects the
building is modern. There are various passages in the thickness of
the walls whose position cannot well be made plain without the help

Digitized by

Google

of plans. Until quite recently visitors were allowed to explore the
interior of the ])uil(lini^, but as nuich damage has ])een done by local
j)icnic parties no one without special i)erniission from the ow^ner, the
Earl of Yarborough, is now admitted, though no objection is made to
examining and photographing the exterior. The date of the buildings
may be given as the second half of the fourteenth century, the license
to *' crenellate," that is, to fortify, being dated 1382, thougli probably
much of the building was done before this date. The style is Perpen-
dicular. It remains only to say that the abbey is easily accessible by
rail, as it stands about half a mile from, and within sight of, Thorn-
ton Abbey station, on the branch of the Great Central Railway that
runs from Brocklesby Junction to New Holland, a village on the
south side of the H umber exactly opposite to Hull.

THAT FOCUSING CLOTH

By C. H. Bothamley

THE focusing-cloth is certainly anathema to many photogra-
phers, especially while they are inexperienced and have not
learned its many tricks, and various devices have been pro-
posed from time to time, with a view to get rid of it alto-
gether. Some of these devices work fairly well, but they
fail to equal a good large oj^aque focusing cloth in two important
particulars at least : They do not so completely shut off extraneous
light from the eyes, which is very important when dealing with
dimly lighted subjects, and they afford no protection to the camera
and dark slide while the shutter is being drawn, or while w^aiting for
the most favorable conditions after the shutter has been drawn.
These are critical moments, and who can say how many plates have
been saved by the much abused focusing cloth when circumstances
have made it necessary to work with the camera in full sunHght?
Assuming, therefore, that it cannot readily be dispensed with, let us
consider the best methods of circumventing its mischievous ingenu-
ity. Its best trick is to go off
'* on its own," leaving the
poor camera unclothed, but
unashamed ; its next best is
to slip forward and cover up
the lens. The latter it some-
times performs in windy
weather, while the exposure
is being made. Both tricks
can be eliminated from the
programme by one and the
same plan.

If you are working with a

Shifts of the Desert

Geo. D. Pratt
54

Digitized by

Google

lens and a cap, or with a
shutter that is either on
the front of the lens or
is entirely inside the
camera, with no strings
or the like on the out-
side, you cannot do bet-
ter than adopt the plan
that I first learned from
an article by H. P. Rob-
inson, and that I used
with great satisfaction
for years. At a distance
from one end of the
focusing-cloth not less

Jersey Shore, near Keansburgli

Dy G. Y. Lewis

than the height of the lens above the base-board of the camera, and
equidistant from the sides of the cloth, cut a round hole of such
diameter that it will just slip easily over the largest lens that you
use with that camera. Around the edge of this hole have well and
firmly stitched a piece of good flat elastic, smaller than the circum-
ference of the hole, in such a way that the diameter of the hole is
reduced and the cloth is " gathered up " around it. The length of
the piece of elastic must be such that it makes a ring that fits nicely
around the mount of the smallest lens used, while it stretches suf-
ficiently to slip over the largest lens used with the particular camera.

With a focusing-cloth arranged in this way all that is necessary
is to slip the aperture over the lens, and then, to make things addi-
tionally secure, fasten opposite edges of the focusing-cloth together
under the camera, either w ith a large '" safety " dress-pin, or by
nieans of a hook and eye attached to the edges.

If, however, you use a shutter like the Thornton-Pickard, work-
ing on the front of the camera but behind the lens, the plan just
described is inapplicable, because the cloth would interfere with the
working of the shutter. T, therefore, devised the following plan,
which 1 have had in use for three or four years, and which works
very well, provided that the camera front, the shutter, lens fittings,
etc., are quite light-tight, as they should be. It is applicable to any
camera that has a sufficiently strong and rigid front.

At each of the four corners of the front, screw in a screw-eye,
or screw, on a small brass plate, wMth a ring or half-ring attached. At
each corresponding point along the end of the focusing-cloth, fasten,
preferably by means of strong tape, a spring hook with a swavel, such
as are used at the end of dog-chains. For a quarter plate camera you
might use those that are put on the ends of the cheap steel or leather
watch-guards. All you now have to do is to connect each hook with
the corresponding ring on the camera front, and the focusing-cloth is
secure; or the opposite edges of the cloth may be fastened beneath
the camera with a pin or hook and eye if preferred.

Digitized by

Google

A CHAT ABOUT LENSES

By Frederick Thomas Benneti'

(Illustrations by the Author)

1AM rather surprised that photographers generally take such lit-
tle interest in that most important part of the photographic outfit,
the lens. They seem content so long as it covers the plate
moderately well and gives a fairly sharp image. It is easily
understood that professionals have but little time for experiment-
ing, and, as a rule, they fit themselves out with a set of lenses : a
portrait for its own particular work, a single for landscape and
groups, and a wide-angle for close-up work. But that, of course,
means money; still, where the pocket is deep, it is the best and cheapest
in the end. I find most amateurs possess a quarter plate rapid recti-
linear Euryscope, or doublet (under one of its many names), and I
want to show what can be done with it by making the most use of it
possible. The three plates illustrating the article were all taken with
a quarter plate French made Euryscope sent me, from Paris,
unnamed, and costing just about five dollars. The quarter plate was
taken with it in the hand camera working at F8.

View at Bournemouth {reduced slightly)

Digitized by

Google

The half
plate was
taken using the
back combina-
tion only and
working a t
Fi6.

The whole
plate was taken
with it work-
ing at F44, the
lenses being
mounted close
together, tem-
porarily fixed
up in a card-
board mount,

riew at Totteridge (reduced one-half scale)

with just sufficient room between them for a cardboard stop.

It is very generally known that lenses can be altered in focus by
the addition of concave and convex lenses, but it does not seem to

Whole Plate {reduced one-half scale)

be made the use of I should have expected, the idea being principally
applied to hand cameras to bring near objects into focus where the
lens is fixed for infinity.

Digitized by

Google

SHORT FOCUS LENSES

By C. M. Giles

AMATEURS of tlie old school, from one of whom I have
had many acceptable suggestions, who used to start out, in
the days of wet plates, with a wheelbarrow loaded with
camera, dark-room tent, and all the other, at that time, nec-
essary impedimenta, must look with somewhat of wonder-
ment at the extreme craze for lightness of apparatus of to-day, and
some of the consequent developments in the way of cameras, etc. The
endeavor to lighten the weight and reduce the dimensions of the

equipment to be taken on an
arduous tramp or long bi-
cycle trip, when every ounce
seems to weigh so heavily at
times, is explicable; but for
the ordinary amateur's use
the tendency seems to have
been to push the reductions
to an extreme, and the result
is apt to be unsatisfactory,
especially for tripod work,
which, after all, is the most
important. There should be
weight enough to secure
rigidity and stability, espe-
cially in case of windy
weather.

But the effort to secure
extreme compactness and
lightness has necessitated
the use of short-focus lenses,
which are unsuitable for
general work. There are
times and occasions when, of
course, they are absolutely
indispensable, owing to the

A IVintcr Idyl

By R. E. Schouler

circumscribed space within which the exposure must be made; but
their use should be avoided wherever possible, as the result is a
forced and unnatural perspective. Who has not been disappointed,
when using the average hand camera, to find that some desirable
object in the middle background " shows up " small and insignifi-
cantly in the print, when in nature it had a dignity and value all its
own? A longer focus lens would have brought it into different
relations with the rest of the picture.

Digitized by

Google

It is only after an amateur, who has been previously confined
to a short-focus lens in a hand camera, has used a long-focus lens,
and had occasion to compare the work of the two classes of lenses on
the same object, that the difference is fully appreciated. The choice
of a lens, if only one is to be owned, should be one of medium focus,
say about the diagonal of the plate on which it is to be used as the
shortest extreme. Apparently the most of the amateurs, through
ignorance or thoughtlessness, take whatever lens happens to be in the
camera of their choice, looking to all the conveniences of the camera,
its lightness and compactness, but giving little or no attention to the
most important feature of all — the lens. The fact is that the most of
the camera buyers seem to buy a camera with a lens thrown in, so to
speak, and not a lens as the one indispensable attachment of the
camera, on which depends the value of the finished print.

THE EFFECTS OF FOCAL LENGTH

By Chapman Jones

IT appears to be a small matter to the beginner to pass from
quarter plates and a lens of five inches focal length to half plates
and a nine-inch lens, or whole plates and an eleven or twelve
inch lens, but it may mean failure instead of success. It nrust at

least require practice to get used to the larger size.

If the focal length of the lens bears the same relationship to the
length and width of the plate in both cases, then exactly the same
extent of subject will be included on both plates, but the picture on
the larger plate will be on a proportionately larger scale. A twelve-
inch lens gives exactly the same amount of subject from the same
point of view on a whole plate that a six-inch lens gives on a quarter
l)late, but the distance between any two corresjjonding points
on the larger
plate is double
what it is on the
smaller.

This i n -
crease of scale
necessitates a
longer m i n i -
mum exposure,
as a blank space
that may be
passable and
even effective
on the smaller
plate may be- A Kankakee Bayou

By Geo. T. Power

Digitized by

Google

come an obtrusive fault when increased to four times its area.
For the same depth of definition on the larger plate, a smaller
aperture must be employed. This, again, leads to a necessary increase
of exposure. Quick work becomes more difficult as the focal length
of the lens and the size of the plate are increased.

A large negative or print is less brilliant than a small one, the sub-
ject and the treatment being similar in both cases. The crispness that
some so much admire must be modified as the scale of the picture is
increased, because it depends upon the nearness of the lights and the
shadows to each other and the resulting contrast. A small negative
that is good must not, therefore, be taken as a type to work to in the
making of large plates.

To work a size that is much larger or smaller than what one has
been accustomed to requires new experience, it is almost like begin-
ning over again. But the same difficulty is not likely to occur in
making a further change, because, when the effects of size are once
practically appreciated, the photographer knows in what direction to
work.

ACTION OF LIGHT ON SILVER CHLORIDE

By Romyn Hitchcock

THE discoloration of silver chloride under the action of light
was observed more than a century ago, and in later years
chemists have studied the chemical changes with varying
results. Some have maintained that chlorine is set free;
others have been unable to detect any loss in weight, w^hich
would certainly be observed if there were an appreciable escape of
chlorine. The question is fundamental in its bearing upon photo-
graphic theory ; for, until we know the effect of light upon the pure
compound, all conclusions based upon changes in the presence of
organic matter partake more or less of the nature of presumptions.

In a recent number of Anthony's Bulletin an article was pub-
lished in which the writer treats of this subject as follows: " H we
take some pure chloride of silver with a proper excess of silver
nitrate, and expose it to light, we will find that it will assume a slate-
blue tone and refuse to bronze ; and, if it is treated with hyposulphite
of soda, it will be almost entirely dissolved away. So our photo-
graphic image is not metallic chloride from the reduced chloride of
silver ; indeed, the only part the chloride seems to play is that of an
accelerator in the formation of the image."

The conclusion thus arrived at is, j)erhaps, not very sound.
" Almost entirely dis.solved " indicates that some of the silver has
become insoluble, and the proportion thereof depends upon the quan-
tity of the original chloride which has been subjected to the action
of the light. It must be recognized that the lumps or particles of

Digitized by

Google

Digitized by

Google

Digitized by

Google

silver chloride are only acted upon superficially. Break or crush
them after many days, and the interior is still white. Only a very
thin covering of darkened chloride is on the surface, and it cannot be
doubted that this is the reason why the considerable loss in weight
wdiich silver chloride suffers under the action of light has not been
generally observed. The atomic weight of silver is io8, correspond-
ing to 35.5 of chlorine. The thin film of chloride acted upon by light
is but a minute fraction of the weight of the total chloride used in the
experiment, and it is still approximately four times the weight of the
chlorine contained in it. Consequently, the loss of a small part of
that chlorine, five or six per cent., for example, would be readily over-

Richtfiofrv's' C.i^'tlr iv W'ivh^

By JTin. Pern's, Jr.

looked, unless the investigation were conducted with the utmost accu-
racy and with instruments of great delicacy.

At the Toronto meeting of the American Association, 1889, I
described some experiments of my own, which, although incomplete,
showed that the loss of chlorine, when silver chloride is exposed to
light for a considerable time and under conditions which exposed a
large surface as compared with the total weight of chloride, amounted
to not less than 6 per cent. The chlorine was not only determined by
loss in weight, but in one experiment it w^as collected and weighed
as silver chloride, thus entirely confirming the calculations from loss
alone. (See Amer. Chemical Journal, vol. xi., p. 474.)

In a later contribution to this subject, T stated that " The accu-
racy of these results has been fully borne out by subsequent work ; but

Digitized by

Google

it is doubtful if even my latest experiments, which show a loss of
chlorine of over 8.5 per cent., have been carried far enough to repre-
sent the final eflfect of the light upon this compound." (See Amcr.
Chem. Journ,, vol. xiii.)

As further confirmation of the results, I may add that the result-
ing compoimd yields a considerable proportion of silver when treated
with nitric acid.

I give here the summary of results from the article last re-
ferred to :

Original weight of AgCl 01 5959 gram.

Weight of CI lost 0x393 "

Per cent of loss 8.57

Silver soluble in HNOy .04205 gram.

Composition of AgCl after action of light :

Weight of discolored AgCl T4566 gram.

Silver soluble in HNO3 04205 *'

Per cent, of soluble silver 28.8

The resulting compound is probably a mixture of metallic silver
and silver chloride, in the proportions which would be approximately
represented by the formula ( AgCl)oAg. But I am by no means cer-
tain that the action would not proceed still further, and it has been
my intention and desire to continue these researches in order to deter-
mine, if possible, the final result of the long-continued action of
light. I am sure that the product obtained by me does not represent
the complete decomposition which light can produce, and, indeed, it
would not be surprising if we should discover that light can eflfect
the total dissociation of silver and chlorine. But my work was
brought to a sudden termination by my departure from home for a
long absence, and the facilities for such investigations have not since
been at my command.

SOME POINTS ON MOUNTING

By II. M. Gassman

VERY often the mounting is the making of a picture. The
trimming, size, shape, and perfect adhesion of the print,
together with the width of border, color, thickness, and finish
of the card, will modify the appearance of the finished pic-
ture more than the tyro would imagine.
The first step is to trim the print. This is best done with a print-
trimmer, one of which the amateur should possess. If this is not at
hand, the next best thing is to purchase a carpenter's flat steel square,
suflRciently large for the largest print. Place this on the print, and
trim the edge with a sharp knife, or mark the edges and trim with
.scissors. Cut off every fraction of an inch which in no way helps to

Digitized by

Google

make the picture. This can be more easily detemiined by placing the
print face up, and adjusting four pieces of paper or cardboard over
the print until the best effect is obtained.

Prints may be mounted dry or wet. Success in dry mounting
depends upon having a paper that is not inclined to curl, and a good
adhesive. The latter would better be purchased, since there are sev-
eral good makes on the market, and they are inexpensive. Prints
mounted dry will not cause the card to warp as much as when wet.

When it is desired to mount wet, the prints are piled face to back
on each other, every other one being drawn through water, and extra
water drained off before putting on the pile. The whole pile is
allowed to soak for about fifteen minutes until uniformly moistened.

In either case, the batch of prints to be mounted are placed face
down on one another, beginning with the smallest and ending with the
largest ; or.
better still,
divide them
into piles of
approximately
the same sized
prints. T o

the top one
apply an even
coat of paste,
not so thick
that it will
squeeze out
when rolled
down with a
print roller. It
is well to cover
the face of the

paper before -^'^'""/^ Cherries By U\ F. Saltrbeck

rolling, and to roll from the centre outward. If the print is not
quite in the centre, the card may be cut to make it so, provided it is
a plain card.

An attractive mat mount may be made from a thick, plain card,
such as the Melton card. The size of the card should be such as to
allow a margin at least one-half as wide as the print. Mark off accu-
rately the size of the opening desired on the face of the card. With
a sharp knife and a ruler cut the line marked. Then without the
ruler go over the whole rectangle, always inclining the knife handle
outward at the same angle, so as to cut a bevel. Cut a little deeper
each time the rectangle is completed. Before the knife cuts through,
the card should be placed on a smooth window-glass, so that the cut
may be clear and sharp on the lower side. Any roughness on the
beveled edge may be smoothed with fine sandpaper and made white

Digitized by

Google

by an eraser. An opening of any shape may be cut by this method.
The print is mounted on a plain card, and the whole is pasted or
glued back of the beveled opening.

To prevent to some extent the bending and warping of mounted
photographs, pile them on top of one another face to back as soon as
the print is mounted. (This method is not applicable to sticky sur-
face papers.) In about an hour the pile will be uniformly dampened,
when the photographs can be separated for rapid drying.

HAWTHORNE'S "VILLAGE BY THE SEA"

By Walter Sprange

{Illustrations by the Author)

HE descriptive pen sketches of
America's immortal romancist, Na-
thaniel Hawthorne, are written with
such clearness that, even after the
lapse of more than half a century, it
is possible to trace out and recognize
many of the identical spots and land-
marks described with so much pathos
in the imaginary retrospect, " The Vil-
lage Uncle,*' one of Hawthorne's
'' Twice Told Tales."

Of the personages, although " they
have all gone " when the retrospect
was written, and may generally be
assumed by its readers simply to have
illustrated types of characters familiar
to the place and period, the origin of " Susan " is vouched for in the
person of the only maiden who tended store in the village at that
time, and who afterward became the wife of Mr. Fuller, who owned
the building occupied by Mr. Bartlett as a grocery store.

" Uncle Parker " is still recognized by some of the oldest resi-
dents in the person of an
alien to the village by the
name of Proctor, who came
there in one of the fishing-
vessels, and whose habits
and traits are so vividly de-
scribed, even to his sad end-
ing when " his rheumatic
bones were dashed against
' Egg Rock.' "

A typical successor to

Digitized by

Google

" Uncle Parker " — who is described as a '* lean old man of great
height, but bent with years and twisted into an uncouth shape,"
** furrowed also and weatherw^orn " — exists in the person of a soli-

tary hermit, who has, by reason of his deformities, been the butt of
thoughtless boys for many years, but whose humble garb and homely
exterior conceal a generous heart and simple mind, and is intro-
duced in the initial to this article as a living representative of
Hawthorne's " Old Salt !"

" The little bridge over the brook that runs across King's Beach
into the sea " has succumbed to the exigencies of the times. The
brook, called Humphrey's Rrook, is the dividing line between the

city of Lynn and the town of Swampscott, in Massachusetts. King's
Beach forms a part of Boston's system of metropolitan parks. The
little brook is now confined until it reaches the sea, but a platform

Digitized by

Google

a])ove it provides a very popular substitute for the little bridge as a
roaming place for numerous successors to little " Susan."

This little platform, which forms a diminutive jetty to the sea, is
also still a favorite resort at twilight from which to view the " crim-
son clouds fading in the West,'* and also at night, with " the silver
moon brightening above the hill."

" The small collection of dwellings that seem to have been cast
up by the sea with the rock-weeds and marine plants that it vomits
after a storm " were until very recently fully represented ; but they,
and the ** row of boat-houses " (the first building in the view " Our

Village") were all removed a year ago, and the beach cleared to
form a marine park for the town of Swampscott.

" The two-story dwelling of dark and weather-beaten aspect ** is
still intact. This double house is one of the finest specimens of its
period in the country. It was built by two Blaney brothers, who

Digitized by

Google

were probably the earliest settlers in Swampscott, in 1650, and it is
still occupied by their direct descendants. Of the " two grocery-
stores opposite each other in the centre of the village," the basement
of one is occupied as a grocery-store to-day, and is still " the haunt

of a hardy throng of fishermen/' The other grocery-store was no
doubt replaced by the Swampscott House about the same time that
" The Village Uncle " was written, for that old hostelry is now de-
serted, and the building, in a very dilapidated condition, is awaiting
demolition.

" The dory, the little flat-bottomed skiff " is still a popular feat-
ure of the village. In fact, the Swampscott dory is really the best
known product of the place, for the " little fishing village " has grad-
ually merged into one of the most populous and select seashore re-
sorts on the north Atlantic coast, and it is a perfect paradise for the
enterprising " camerist," as it abounds in subjects of all kinds for
the development of latent talent.

Digitized by

Google

SOME NOTES ON AMMONIUM PERSULPHATE

By Nevvtox W. Em mens

(illustrations by the Author \

NONE of the articles I have seen on ammonium persulphate
as a reducer for photographic negatives have been illus-
trated, and, therefore, the appearance of prints made from
a negative before and after treatment with the persulphate
is left to the imagination of the reader. We are told, it is
true, that the high lights are attacked without the shadows being
aflfected, and that contrasts are reduced, but what the actual results

The Promenade, Brooklyn Bridge. N'o. i

are would be made very much clearer if a few illustrations were
shown. This is what I propose to do.

It is not every specimen of the salt in question that has a reducing
action on the negative. The first sample I procured was a colorless,
transparent, crystalline, slightly moist mass, which had an odor of
sulphuric acid, and dissolved slowly in cold water, making a strongly

Digitized by

Google

acid solution. It had no more reducing action than so much common
salt, even when made up to a ten per cent, solution. The second
sample was an opaque, white, granular, crystalline, dry, odorless,
coarse powder, slightly deliquescent, and dissolving very readily in
cold water, with a peculiar crackling noise caused by a sudden explo-
sive evolution of gas in the interstices of the crystals. The solution
was slightly acid and worked very well, the best strength to use being
one per cent. If a stronger solution be employed, the action is too
rapid, and there is danger of destroying all contrast in the negative,
which would then yield a very flat print.

In a recent number of Der Amateur Photographer^ Hehlheim

The Promenade, Brooklyn Bridge. No, 2

called attention to the fact that various specimens of ammonium per-
sulphate were found to diflFer greatly in their action, some behaving
admirably, whilst others produced no reducing eflfect. He suggested
the addition of a few drops of sulphuric acid to the inert varieties,
with the idea of starting decomposition and liberating ozone, which is
considered to be the active reducing agent. I tried this with the first
sample mentioned above, but with negative results ; the reason being,
I think, that it already had a large quantity of free sulphuric acid, as
shown by its strong acid reaction with litmus, so that, having thus
become thoroughly decomposed and deprived of all its ozone, the
addition of still more sulphuric acid was ineffectual. The specimen

Digitized by

Google

in question was tested immediately after being purchased from one
of the largest wholesale photographic stock houses in New York.
The second sample was obtained from a leading firm of dealers in
chemicals and cjiemical apparatus.

In the first illustration, namely, " The Promenade, Brooklyn
Bridge," it will be noticed that the buildings in the distance are some-
what indistinct, while the ropes showing against the sky are in some
cases entirely obliterated, and the tops of the iron girders, together
with the board walk, are almost white in color and lacking in detail.

The second illustration shows the effect of reducing the negative
for five minutes in a one per cent, solution of ammonium persulphate.

The Foot of the Slxaft. No. i

The buildings in the distance show up well and are full of detail, and
the ropes and board walk show up very clearly.

The third illustration, '* The Foot of the Shaft,*' is a flash-light
photograph taken three hundred feet below the surface of the ground.
It will be noticed that some of the faces are very much wanting in
detail, and that there is an extreme whiteness at the side of the pic-
ture. The latter feature was caused by the flash just coming within
the lens field, and was unavoidable owing to the smallness of the
place I had to operate in.

The fourth illustration is from the same negative after reducing
for fifteen minutes in a one per cent, solution.

The fifth illustration, *' The Approaching Storm," is a snap shot

Digitized by

Google

The Foot of the Shaft. No. 2

taken from a ferry-boat in New York Bay, and it will be observed
that the clouds hardly show up at all ; but after a ten minutes' reduc-

The Approaching Storm. No. 1

Digitized by

Google

tion of the negative in a one per cent, solution the clouds become
plainly apparent, as may be seen by illustration No. 6.

Negatives that have become yellow from lack of proper fixing
or washing may be restored to their original condition by being
immersed in a two or three per cent, solution of ammonium persul-
phate made alkaline with ammonia. The effect of the ammonia is to
avoid any reducing eflfect, but it does not appear to prevent the yellow
stain from being removed.

I have a negative which was intensified with mercury in 1896 and
had turned quite a deep yellow; yet this color was completely

The Approaching Storm. No. 2

removed by an immersion for ten hours in a two per cent, solution
made alkaline with ammonia.

After reducing the negative sufficiently it is placed for a period
of ten to fifteen minutes in a ten per cent, solution of hypo, which has
the eflfect of stopping all further reducing action and at the same
time removes any silver salts that may be formed by the persulphate.
After this treatment it must be well washed.

I have tried the experiment of reducing an over-exposed Velox
print ; but the result was not at all satisfactory, as the contrasts were
reduced too much and thus made the print very flat. Much better
results were obtained by reducing the over-exposed print with very
weak Farmer's Solution.

Also the attempt to remove the yellow color from an old albumen

Digitized by

Google

print was unsuccessful, although various strengths of solution were
used both with ammonia and without, the only result being that the
image was almost entirely removed after a prolonged immersion in a
four per cent, solution.

Great care should be taken to wash out all the hypo from the
negative before attempting to reduce with ammonium persulphate.
If this be not done, the reducing action will not be uniform, as the
persulphate will first attack any hypo that may remain in the film
before it acts on the silver forming the image. A mottled negative is
thus produced, owing to some parts of it being more free from hypo
than others, and these are the first to be reduced.

PHOTO-MICROGRAPHY FOR EVERYBODY

By W. H. Walmsley

Klllustrations by the Author)

EVERYBODY dabbles more or less in photography nowa-
days, at least almost everybody. There may be a few excep-
tions, but these do not count. In and out of season the click
of the shutter is heard thoughout the land, though, it must be
confessed, the amount of game bagged to that of ** snap-
shots*' fired, is disproportionately small. Failures, however, in nowise
dampen the ardor of the camera fiend, who continues firing away so
long as his ammunition lasts, occasionally scoring a success as an
oflfset to his many failures. Nothing daunts him ; no subject is too
difficult for his omnivorous appetite to digest. From portraiture to
landscape or seascape, all is food for his sustenance, photographically.
What, all? Well, nearly so! One field seems to be left, an almost
unexplored region to the average amateur, that of Photo-micrography.
Into this field of boundless delights let us stray a moment, to see if
its further exploration be at all within the possibiHties of his outfit.

Of course, a microscope is necessary for the making of a true
photo-micrograph, i.e., the enlargement of any object to a greater
degree than five to ten diameters. Less than these powers are quite
within the compass of the camera alone, and under the lower, or five
diameters, may be readily produced by any form carrying a lens of
short focus, a bellows, or other means of extension, and a focusing
screen. The picture thus made may be termed a photo-macrograph,
as a distinction from the true photo-micrograph produced by the
combination of microscope and camera. An effort will be made in
the following article to clearly show how this may be done, though its
leading purpose is to explain to the student in natural history a simple
method of making photo-micrographs of excellent quality, illus-
trating his work more accurately than the best drawings, withoul
the labor and expenditure of time necessary for the production of
the latter.

7:^

Digitized by

Google

As already stated, a vast number of people, and especially stu-
dents, have some knowledge of a photographic camera and its
practical workings. The latter, also, are well acquainted with the
compound microscope and its uses. But comparatively few have
ever combined the two in the production of a photo-micrograph, and
are fully persuaded that only the costliest and most elaborate instru-
ments of both classes — specially constructed cameras and microscopes
combining the highest attainable qualities in mechanism and optical
perfection — can be successfully used for this work. Hence, we have
the fact that thus far, relatively few have ever made the attempt, the
supposedly necessary means being quite out of their reach.

Now, there can be no possible doubt that the making of a first-
class photo-micrograph with high powers, such as the resolution of
markings on the most difficult diatoms, podura scales, or the flagella
of a bacillus, demands optical appliances of the highest attainable
perfection both above and below stage — objective, ocular, and con-
denser. Only the best will suffice to reach the standard that has been
set by such workers as Van Heurck, of Germany; Nelson, Pringle,
and Spitta, of London, or Dr. Gray, of the Army Medical Museum,
in Washington. The most perfect and elaborate outfit of apparatus,
however, will not suffice to do this work of itself. Something more,
and better, is needed. It is another case of '* the man behind the
gun." C'onsummate skill, unwearied patience taking no note of
failures save as incentive to renewed efforts, endless work and experi-
ence, can alone manipulate such perfections in optical science and
mechanism as to secure the marvelously perfect results they are
capable of producing. But it is. not with these that we are now
dealing.

Our aim is to show that true and excellent work may be done
by the average student, in whatsoever branch of natural history he
may be engaged, with the ordinary microscopic and photographic
apparatus at his disposal. It will be shown that the student's type of
microscope used in our schools and colleges, comprising stand, with
inclination to body, two objectives, one inch or three- fourths inch and
one-fourth inch or one-sixth inch, two Huyghenian oculars, A and B,
substage condenser of the Abbe form, and swinging mirror, is quite
sufficient for the optical requirements; while any camera provided
with extension bellows, or their equivalent, and a focusing screen,
will serve amply well for the photographic. With these appliances
it is quite possible to make photo-micrographs of a quality that the
best and most costly apparatus of three decades ago could not excel.
Prior to that time very few objectives were corrected for photog-
raphy, and all powers below a one-fourth inch not so corrected were
almost useless for that purpose, their visual and actinic foci being
very far from coincident. But now even the cheapest series of stu-
dent's lenses by reputable makers are virtually equally well adapted to
visual or photographic work. That not very distant period was, how-
ever, prior to the days of projection and compensating oculars. If

Digitized by

Google

the photo-micrographer desired to use an eyepiece rather than the
objective alone, he must perforce have recourse to the Huyghenian
form (admittedly imperfect), but the only one at his command. For
this reason the late Col. Dr. J. J. Woodward, whose work is still
world famous, dispensed with the use of eyepieces, all of his wonder-
fiil photographs having been made from the image directly projected
by the objective. It was another example of ** the man behind the
gun." Did he live and work at the present day, he would doubtless
use apochromatic lenses and projection oculars. But we are again
straying from our subject of good work with ordinary apparatus
within the reach of every student, and must return to it.

We are obliged, then, perforce, to be content with oculars of the
Huyghenian form, since these only are furnished with students'
microscopes, but, as we have seen, no others were obtainable by our
predecessors in this work. Yet it must be confessed they did very
well with them, as we can likewise do. So, again, with the Abbe
substage condenser. It is not achromatic, nor is it intended for pho-
tographic purposes, but, if properly used, is capable of aiding in the
production of very satisfactory results in that direction, as will also
be shown. In short, the student may safely cast aside as groundless,
all fears that good photo-micrograph ic work is not within his means
and therefore to be no more thought of ; but set about using those at
hand, with the certainty of saving many hours of patient, weary labor
with the pencil, and at the same time doing better and more accurate
work than is possible even to the most skilled draughtsman.

Supposing, then, that we have a microscope of the student's class
as described, and a camera of any form or size, hand or tripod, pro-
vided with focusing screen and extension by bellows or other means,
how are we to use them in conjunction for the making of a photo-
micrograph? Pausing a moment to observe that of these but one,
the focusing screen, is absolutely indispensable (the extension being
merely convenient as a ready means of varying the magnification
obtainable from either objective, with or without the oculars), we
will endeavor to answer this question in as lucid a manner as possible.

The object to be photographed having been placed upon the stage,
brought to centre of field, and focused in usual manner, the body of
microscope is to be inclined to the horizontal position, and the mirror
swung to one side, leaving under part of stage free from all obstruc-
tion. The camera (from which the lens has been previously
removed), is then to be placed in conjunction with the microscope,
in such manner as to permit the body of latter to enter the opening
in camera front left by removal of the lens, and exactly in its centre.
This is very important, and must be provided for. If the opening
and tube do not coincide when camera and microscope are placed
upon the same level, as a table-top, they must be made to do so by
raising whichever be the lower, placing something of proper thick-
ness, a book, for instance, beneath it for that purpose. As the tube
will not fill the opening completely, all extraneous light which would

Digitized by

Google

enter the camera at this point must be excluded by wrapping a fold
of cotton velvet or other pliable material about the tube at its junction
with camera, or by any other means which may suggest itself. It is
of the first importance, however, that the joint be perfectly light-
tight, since none whatever must be admitted within the camera, save
image-bearing rays from the microscope alone. *

Microscope and camera being now properly adjusted, the next
step toward making a photograph of the object on the stage of the
former instrument is to provide suitable illumination for that pur-
pose. If daylight be determined upon, the table with apparatus
arranged in the manner described should be placed close beside a
window, facing either north or west if possible. A small sheet of
looking-glass may be placed in such position as to reflect the light
received from the sky directly upon the under side of object on
the stage, or the mirror of the microscope may be used in the same
manner. If properly managed, the illumination by this means is very
even, soft, and satisfactory, and exposure not too greatly prolonged
if the day be fair. Direct sunlight cannot be used with any degree of
success, excepting by means of special condensers and other appa-
ratus entirely foreign to our present purposes.

By far however, the best source of illumination for the student's
or amateur's work, is the familiar, omnipresent coal-oil or kerosene
lamp. One with a flat wick, and capable of being raised or lowered
so as to bring the centre of its flame exactly into optical axis of the
microscope as arranged for photography, should be chosen. If it
be placed behind the microscope at a distance of about six inches,
with broad side of flame parallel to the under side of the stage, an
image of the object will be projected upon the focusing screen, where
it may be seen, centred, and focused, the manner of doing which will
be described in detail a little farther on, after some other necessary
preliminaries have been noted.

It may be proper to refer here to modification of the light by
means of diaphragms, as being an integral portion of the illumination
now under consideration. Most microscopes of the student's class
are furnished with a revolving diaphragm plate pierced with a num-
ber of openings of different sizes ; others are provided with one of the
iris form. In either case, the largest aperture should be used in
arranging and centring the light, which must be replaced, in making
the exposure, by one just large enough to admit sufficient light to
distinctly resolve all details of the object, and at the same time illumi-
nate every portion of the field alike and sufficiently. All light in
excess of these requirements is harmful, and should be carefully
avoided. On no account must there be a glare ; a single ray more
than sufficient to make the photograph is not only useless, but posi-
tively harmful.

The use of monochromatic light in all the processes of focusing
and exposing will be found extremely advantageous, and its employ-
ment is most earnestly advised. Not only is the illumination more

Digitized by

Google

A GLIMPSE OF WINTER

By R. E. Schouler

Digitized by

Google

Digitized by

Google

even, but definition of the object is sharper and clearer, and the
negative better in every way, than one made by the unmodified yel-
lowish rays from the lamp. Of course, absolute monochromatic light
is out of the question with the ordinary student's apparatus, but is
practically obtainable, answering every purpose, at a very slight
expense. If a plane spectacle-glass of medium cobalt-blue tint be
attached to the under side of the microscope stage by means of a
couple of pellets of beeswax — not paraffine wax — a beautiful, soft
whitish light will replace the yellow one, illuminating the field very
evenly, and bringing out all details of the object in the clearest man-
ner. This modification of the light will have no effect upon length
of exposure, neither retarding nor accelerating it, as compared with
that required for the same subject illuminated by direct rays from
the lamp. When orthochromatic plates are used, some objects may
require the use of red, yellow, or orange screens to give true
color values. Others, again, having little or no contrast in their
details, may be greatly improved by the use of a light yellowish green
screen. All of these tints will require from six to twenty times
longer exposures than the blue screen, which, as stated, does not
increase them over that required for unscreened lamplight.

As to the amount or length of exposures in photo-micrography,
it is utterly impossible to give any reliable data. Experience alone
will enable one to determine it to any degree of certainty, as so many
elements bearing upon it have to be considered. The character of
illuminant, color, and opacity of object, and sensitiveness of plate
have all to be taken into consideration. If diffused daylight be
employed, it must be remembered that it is constantly changing in
actinic power with the hour, the season of year, or whether the day
be bright with sunlight or darkened by overhanging clouds. On the
other hand, if the radiant be a coal-oil lamp, it never varies with a
given size of wick and oil of one quality, so that this element of
uncertainty is eliminated by its use. As a possible aid to the begin-
ner, however, a detailed description of processes employed in making
the photo-micrographs illustrating this article will be given, which
may be useful, since they embrace quite divergent subjects and a con-
siderable range of amplification.

A few words relative to the focusing screen also seem necessary,
in pursuance of the expressed purpose to make our subject clear to
everybody. The finest ground glass is much too coarse to render
delicate details with sufficient sharpness to permit accurate focusing
under any but the lowest powers. Numerous coarse subjects may be
focused upon it with perfect results, but fine details are entirely lost,
and something better must be sought if the object possesses fine
details requiring amplifications greater than, say, twenty-five diam-
eters to resolve. An excellent arrangement is to attach a thin micro-
scopic cover glass to the centre of the focusing screen by means of
Canada balsam. This will render the object at that particular point
invisible to the unaided eye, but a small hand magnifier will show it

Digitized by

Google

very sharply and clearly in the transparent circle. Again, if the
camera has a removable focusing screen which can readily be replaced
by another, the following plan, suggested by the writer many years
ago, will be found very simple and easy to adopt, and at the same time
entirely satisfactory. A gelatine dry plate, of same size as the
focusing screen and of even thickness, is exposed for a moment to
actinic light, then developed to a moderate degree of density, and
fixed in the usual manner. After thorough washing until the last
trace of hypo is eliminated, it is to be bleached in a bath of mercuric
bichloride, washed, and dried. By substituting the plate thus pre-
pared (gelatine side in) for the ground glass, we will have a focusing
screen perfectly translucent, with an exceedingly fine surface, render-
ing the most delicate details of any object in a perfectly satisfactory
manner. Remember, then, the ground glass is to be used, as a rule,
merely for centring the object and light, and determining whether
the illumination be even all over the field of view. These prelimin-
aries accomplished, the final focusing must be done by some other
means as suggested.

The size of camera is immaterial. The student may use whatever
he finds at hand, though a moderate size is preferable in being more
convenient to manipulate than one of large dimensions. The plate,
however, should not exceed 4x5 inches, since the limited bellows
extension of nearly all hand and view cameras will not permit a larger
surface to be covered by the cone of light projected through the
microscope; hence the use of larger plates would entail needless
expense. Indeed, for most subjects a quarter plate (3J4 X4>^) is
amply sufficient. The illustrations accompanying this article were
made on plates of that size. Either of these may be carried in plate-
holders of larger dimensions by means of inside kits, which cost but
a trifle. Rulings of both sizes should be made with a black pencil
upon the ground side of focusing screen, care being exercised to have
the lines equidistant from its exact centre. Then, the object having
been arranged to come well inside these lines, we may be sure it will
occupy the same position in the negative. Of course, if the camera be
a 4 X 5 or smaller size, these lines will not be needed.

Having thus given at some length a general description of aphoto-
micrographic outfit for everybody, let us proceed to a more detailed
account of its practical construction and manipulation, tracing the
course of making a negative by its means from start to finish.

As already stated, if the optical axis of microscope does not coin-
cide with centre of camera when both are standing on the same plane,
it must be made to do so by raising whichever is the lower to the
proper level, by placing something beneath it, for instance, a book
of suitable thickness. Such an arrangement will answer, of course,
and photo-micrographs may be and have been made thereby ; but it
is evidently a makeshift, and unsuited for regular practical work.
The slightest touch at the last moment might disarrange the whole
affair, and necessitate the repetition of all previous work in focusing,

Digitized by

Google

etc. Manifestly both microscope and camera must be practically
immovable when placed in conjunction with the view of working
toward a common end. A very simple device for so doing, and one
which every student can make .for himself in a few moments, was
used in making the photo-micrographs given herewith. The camera
available at the moment was a Beck quarter plate with reversible
back, hinged focusing screen, and bellows extension of about twelve
inches. When stood upon a table, the centre of lens opening, was
precisely six inches above its plane (the photo lens had, of course
been removed). The microscope was Ross' student's "Eclipse,"
with rack and pinion coarse and micrometer screw for fine adjust-
ment; two objectives, two-thirds inch and one-sixth inch,
carried by a double nosepiece; two Huyghenian oculars, A and
B; double mirror, mounted so as to be swung clear away from
the stage, which was of large size; and provided with an iris
diaphragm, and clips to hold the object. An Abb© substage
condenser, also furnished with diaphragm of the iris form,
completed the optical portion of the outfit, an excellent example of
the class usually furnished to students at our colleges and schools.
Standing upon a table with body turned down to horizontal position,
the centre of eyepiece was exactly seven and a half inches above its
surface, or one and a half inches higher tl]an the camera's centre
when placed upon the same level. To render these coincident, and at
the same time secure each instrument firmly in its proper position to
the other, was a very simple problem, quickly resolved. A board of
white pine wood six inches wide by three-fourths of an inch thick, was
selected from the woodpile, and a piece about four feet in length
sawed oflF, to one end of which another section of the board, one foot
long, was attached with a few light wire nails, thus furnishing a
platform three-fourths of an inch high. To each end of this a nar-
row strip from the same plank was nailed, increasing height of plat-
form to one and a half inches. The camera being laid thereon, and
securely fastened in position by a set-screw, its centre was found to
agree exactly with that of microscope standing upon the lower level
of the plank's surface. Thus we have the camera immovably fixed,
with the microscope free to be moved about while arranging and
centring light and image upon the focusing screen, when it in turn
may be clamped fast to the platform if desired. This, however, is
not really needful, its weight being sufficient to prevent any unde-
sired movement. A small coal-oil lamp, with a three-fourths of an
inch wick, and constructed to carry its flame at any desired height
above the table's level, with a small bull's-eye condensing lens
mounted on stand with universal joint, completed the simple photo-
micrographic apparatus, by means of which the accompanying illus-
trations were made. A photograph of the outfit as it stood upon the
work-table reproduced in half-tone, and showing the arrangement of
its component parts quite clearly is given below, in addition to the
written description.

Digitized by

Google

Camera and Micro

A few re-
marks as to
plates seem to
be in order be-
fore proceeding
to make practi-
cal use of our
improvised ap-
paratus. What
brands and what
degree of sensi-
tiveness are re-
quired to pro-
duce the best
results in this

line of work? A general reply may be given to both questions:
'* None in particular." The uniform excellence of plates furnished
by all our makers of standard reputation precludes the institution
of any comparison between them; while it may be safely affirmed
that any plate, from the quickest " lighting special " to the slowest
lantern, will yield a perfect photo-micrographic negative, if properly
handled. At the same time there is ample scope for the exercise of
judgment in selection o*f those suitable for each object in the bound-
less range of subjects we have to deal with, which experience only can
make reasonably correct. Orthochromatic, or color correct, plates
are undoubtedly the most widely useful. One eminent English
authority, insists upon backed or non-halation plates, as being alto-
gether superior to any others ; in fact, indispensable to the production
of perfect photo-micrographic negatives. The writer's experience has
not tended to confirm this statement, but none the less they are
very excellent for this purpose. As to the relative merits of fast and
slow plates, it may be broadly stated that objects presenting strong
contrasts or coarse details require the use of rapid plates, thinly
coated ; while those with delicate details and little or no contrasts in
their structures are much better delineated by those of lesser speed,
more thickly coated, and capable of yielding negatives of great con-
trasts and density at will.

The student is advised to use whatever developer he is acquainted
with, provided it can be depended upon for producing good density
in a correctly exposed negative, which some will not do. If he be a
tyro, having all to learn, he will find the following formula (which
will work perfectly with any make of plate) to be both cheap and
efficient :

Sodium sulphite, granular 20 grains.

Sodium carbonate, dry 5 "

Eikonogen 5

Hydrochinone 10

Water 4 ounces.

Digitized by

Google

Digitized by

Google

I. Proboscis of Blow Fly

+21

2. Wood of European Larch
— Trans. Sec

+70

Plate I.

Digitized by

Google

Dissolve in order named, and divide into two equal portions, to
one of which add the same volume of water, making a dilute solution
four ounces in amount, which pour over the exposed plate. If devel-
opment does not begin in a reasonable time (from thirty to sixty
seconds), pour the developer back into beaker, and cover plate with
the undiluted two ounces. With correct exposures, development will
proceed gradually and rather slowly, with increasing density after
details are out. Too rapid development — generally indicating over-
exposure — must not be restrained with bromide, but by the addition
of water alone ; otherwise a thin, contrastless, unprintable negative
may be expected. Develop until the plate is well darkened through to
the back, with the image showing on that side and entirely gone on
the film surface. A beautiful, clear negative, of perfect printing
qualities, will be the result, if all preliminary requirements have been
carefully and correctly fulfilled.

Returning from this digression on plates and development to the
apparatus which is awaiting our pleasure, let us proceed to rehearse
the making of the four photo-micrographs presented as illustrations of
this paper. The first specimen chosen — ** Proboscis of a Blow-Fly "
— ^as seen in its microscopic mount by the unaided eye, is so large that
the lowest power of the microscope must be used to embrace all of
it in one field of view. A combination of the two-thirds inch
objective and A ocular may aflford this, but upon examining the speci-
men by their means we find the amplification to be so great that only
a portion of it can be seen at one view. Clearly a photograph of the
entire proboscis as desired cannot be made with this combination.
What is to be done? Substitute a lower power for the two-thirds
inch ? But we have no other, and must work with the tools at our
disposal. Remove the eyepiece and use the image projected by
objective alone? Happy thought! Now we have the entire tongue
clearly defined and well within the circle of light upon the focusing
screen ; so it is evidently possible to photograph it with the apparatus
as it stands.

This question being settled in a satisfactory manner, the next
procedure is to shorten the body of microscope by pushing in the
draw-tube as far as it will go, so that the rays of light issuing there-
from may diverge at greatest possible distance from focusing screen,
increasing diameter of light circle seen thereon, but in nowise chang-
ing amplification of the image. Next, the illumination must receive
attention. Presuming that the mirror has already been turned aside,
leaving the under part of stage free from obstruction, the Abbe con-
denser removed, and iris diaphragm opened to its fullest extent, the
lamp is to be placed about six inches from microscope, with broad
side of flame parallel to the stage, and adjusted at the height which
will bring its centre directly in front of opening in the diaphragm.
Now, looking at the circle of light upon focusing screen, move the
lamp carefully about until illumination is seen to be perfectly even
and alike all over the field. At least this is what it should be, but is

Digitized by

Google

not, and the most persistent efforts fail to bring it about. A spot
greatly more brilliant than the surrounding field is persistently visi-
ble in some portion of it. What is the cause ? It must be found and
eliminated, else a successful photograph will be impossible. Remove
focusing screen, and look into the body of microscope, through
which the light is passing. Ah, there it is! The bright interior
reflects the light upon focusing screen, causing the flare spot which
we tried in vain to avoid. Our only remedy at the time is to line body
with a velvet or dead-black paper tube, easily enough made, but the
necessity for doing which would be avoided by the makers of micro-
scopes blackening the interiors of the compound bodies, which the)'
generally neglect to do.

The object presenting strong color contrasts, ranging from very
dark brown to faint yellow, a blue glass screen is selected and
attached to under part of stage as described. The field as seen on
focusing screen is now found to be quite evenly illuminated with a
slightly bluish white light, but evidently in excess of requirements,
as the more delicate details of object are somewhat obscured by
its volume. Closing the diaphragm gradually until all details are
shown equally well defined upon a field fully lighted, we may feel
assured that the important process of illumination has been properly
accomplished. Thus far all arrangements of centring object, light-
ing, and focusing have been done by the unaided eye and coarse
ground surface of the screen, but final adjustment of focus must be
acccMnplished by means of a hand magnifier applied to the transparent
circle in centre of screen, while the fine adjustment screw of micro-
scope is being manipulated. The whole apparatus is so short that
every portion of it may be reached by the hand while the eye is occu-
pied in viewing the object upon the screen. It is to be observed that
source of light is the lamp alone. The bull's-eye condenser is rarely
used with very low powers when the ocular is omitted.

Evervthing being in readiness for the final operation of exposing,
we may now proceed to that. A rapid orthochromatic plate as best
suited to the subject (already chosen and placed in plate holder) is
attached carefully to the microscope, and a blackened card between
stage and radiant prevents any light from reaching the object. The
slide of plate-holder is withdrawn, and, after a moment's waiting to
allow for subsidence of all tremor, the card is lifted, and exposure
begins. How long shall it last ? This question, as in all similar cases,
can be answered by experience alone ; but it is well to remember that
over-exposure is better than the contrary, and that almost all plates
have considerable latitude in this direction, which careful develop-
ment may take advantage of. In this case, one minute was adjudged
to be about right, and the result proved its correctness, as the nega-
tive is a fine one. Development having already been treated of rather
fully, it is unnecessary to refer to it again in this connection.

A very important point in photo-micrography, and one too fre-
quently overlooked, is the measurement and recording of the ampUfi-

Digitized by

Google

cation used in making every exposure. A photograph, or its repro-
duction, merely labeled " highly magnified," loses very greatly in
value as an educator. The student should commence at the outstart
by carefully ascertaining the magnification of each negative made,
and recording same in a note-book. It is very readily done with
sufficient exactness for all practical purposes, as we will now pro-
ceed to demonstrate by measuring the amplification used in the pres-
ent instance. For this purpose, a stage micrometer having lines
ruled to one-hundredth and one-thousandth of an inch is necessary.
We remove the slide just photographed from stage of microscope,
replacing it with the micrometer, the rulings of which will be seen
projected upon the screen where they are to be sharply focused. For
so low a power, the one-hundredth only are used ; above +200, the
one-thousandth spacings will be found the more convenient. Place
one point of a pair of dividers in the centre of a line, and the other in
that of the adjacent or next one ; then, applyihg them to a pocket or
other rule divided into tenths of an inch, note the space upon it cov-
ered by them from point to point. In this instance, it will be found
to exceed two one-tenth divisions by a very small fraction, showing
the enlargement to be +21, since it is evident that, if lines ruled one-
hundredth of an inch apart be separated by magnifying to the
distance of one-tenth of an inch, they must be enlarged ten times in
all directions, or ten diameters, as usually termed. If the enlargement
be sufficient to cover two of the one-tenth divisions on scale, it is
manifest that twenty diameters indicates the amount of amplification.
This method of ascertaining the magnifying power is applicable to all
possible optical combinations, and its use is urged upon the student
in his photo-micrographic work.

The next object — A Cross Section of Wood — requires quite
diflferent treatment from the first, though made with same objective.
In order to give details of the structure sufficiently large to be readily
seen, much greater amplification is necessary. This might be obtained
by increasing length of bellows ; if it were possible so to do with our
camera ; but as it is not, we must have recourse to an eyepiece. The
microscope tube is therefore extended to its full length (for which
the objective is corrected), the lining of velvet or paper withdrawn,
and ocular inserted. The camera should also be removed, but micro-
scope and lamp are not to be touched, being left as they stood in
making the first negative. In this position the object may be seen as
in ordinary work with the instrument, and the best field for photo-
graphing selected. The blue screen is used as before, and diaphragm
left well opened. Upon replacing camera, the entire circle of light
cast upon screen will be found covered by object, without any mar-
ginal space of light as before. The illumination will also be quite
dim compared with the former, owing to retardation of light by the
ocular. If a small bull's-eye condensing lens be placed between stage
and lamp, as shown in illustration, its brilliancy and volume are
greatly increased, but care must be taken to get it into the exact posi-

Digitized by

Google

lion to insure equal illumination over the entire field. Finally, the
diaphragm must be gradually closed as before until the finest defini-
tion coupled with sufficient light be found. The object being almost
colorless — very delicate yellowish tint — a, thickly coated plate of
moderate sensitiveness is selected and exposed forty-five seconds,
which on development is found to be correct. Measurement with
micrometer shows the amplification to be +70.

The subject selected for the third illustration, to be made by the
one-sixth inch objective, without ocular, is a transverse section of a
very minute Echinus Spine; colorless and exceedingly transparent.
All operations of arranging, lighting, and focusing are precisely the
same as with No. i, with addition of buirs-eye condenser for increas-
ing illumination necessary to avoid inordinate length of exposure
with the higher power. A thinly coated, highly sensitive portrait
plate is selected and exposed forty seconds, yielding a surprisingly
strong negative, under the circumstances, the amplification of which
is found to be +90.

The fourth and last photograph was made with the highest power
possible to our apparatus as it stands (a combination of the one-sixth
inch objective and B ocular). These might have been used with the
same lighting as in No. 2, had it not been determined to try the Abbe
condenser as illuminator, notwithstanding the assertion by all
authorities of its total unfitness for the purpose. Bearing in mind,
however, the fact that most students' microscopes are furnished with
a condenser of that form, and knowing that acceptable work can
be done by its aid, it was thought proper to present with the present
article an illustration thus made. The condenser having been
inserted in substage ring, the lamp — with edge of flame turned
toward it, was moved about ten inches distant, and bull's-eye con-
denser placed between the two in such position as to parallelize the
light rays. All subsequent operations of illuminating, centring, and
focusing the object were identical with those in No. 2. The subject
selected for this final test of the apparatus was a Diatom of discoid
form, the beautiful Aulacodiscus Oreganus, quite highly colored and
rather opaque, like most other species of this family. A thickly
coated plate of moderate speed, the same as No. 2, was used, to which
an exposure of five minutes was given, the amplification being
315 diameters. The resulting negative yielded a print from which
the reproduction was made, the merits of which must be left to the
judgment of our readers.

At the outset of this article, it was intended to include practical
instructions for making photo-macrographs by means of the camera
alone. Also, descriptions of certain printing methods, which the
writer has found to yield better results, with less labor and uncer-
tainty, than any others with which he is acquainted. But it has
already grown to such inordinate length as to forbid any further
extension. Perhaps at some future time they may be given to the
Annual^s host of readers.

Digitized by

Google

Digitized by

Google

I. Echinus Spine — Trans. Sec.

2. Aulacodiscus Oreganus

+315

Plate II.

Digitized by

Google

Description of Photo-Micrographs.

PLATE I.

/. — Proboscis of Blozv-Fly.

Colors of Object — Very dark brown to lighter shades, with yellow
varying in density.

Screen Used — Cobalt blue.

Objective — Ross' student's two-thirds inch.

Ocular — None.

Condenser — None.

Plate — Rapid orthochromatic.

Light — Coal-oil lamp, broad side of flame.

Exposure — 60 seconds.

Developer — Eiko-hydro, as per formula herewith.

Amplification — 21 diameters.

2, — Wood of European Larch — Transz'erse Section.

Color of Object — Very pale yellow.

Screen Used — Cobalt blue.

Objective — Ross' student's two-thirds inch.

Ocular — Huyghenian, B, i>2 inch.

Condenser — None.

Plate — Landscape, moderate speed.

Light — Coal-oil lamp, broad side of flame, and buirs-eye.

Exposure — ^45 seconds.

Developer — Eiko-hydro.

Amplification — 70 diameters.

PLATE II.

/. — Spine of an Echinus — Transverse Section.

Color of Object — None ; quite hyaline.

Screen Used — Cobalt blue.

Objective — Ross' student's one-sixth inch.

Ocular — None.

Condenser — None.

Plate — Portrait, very rapid.

Light — Coal-oil lamp, broad side of flame, and bull's-eye.

Exposure — 40 seconds.

Developer — Eiko-hydro.

Amplification — 90 diameters.

2. — Aulacodisciis Oreganus — Discoid Diatom.

Color of Object — Dark bluish gray, rather opaque.
Screen Used — Cobalt blue.

Digitized by

Google

Objective — Ross' student's one-sixth inch.

Ocular — Huyghenian, R, 13^2 inch.

Condenser — Abbe substage.

Plate — Landscape, moderate speed.

Light — Coal-oil lamp, edge of flame, and bull's-eye.

Exposure — 5 minutes.

Developer — Eiko-hydro, as per formula given herewith.

Amplification — 315 diameters.

HAND CAMERA NOTES

By Martin J. Harding

IN the second volume of our Annual, I was privileged to give a
few notes on this subject, and, as a decade has since passed by, it
may be worth while to go over the ground, comparing our present
position, and all the advances and improvements that have been
made, with that of ten years ago. At that time the evolution of
the magazine form of camera was in so embryonic a stage that I
leaned very much to the simple camera, with separate double backs,
as being by far the safest instrument to use, with a minimum risk of
anything sticking or going wrong. But in the interval so many
methods of changing plates and films have been perfected that there
is now no difficulty in selecting a really reliable magazine camera, the
difficulty rather lying in making a final choice out of the many good
things now on the market. Where a lot of work is in view, it is most
convenient to possess a camera carrying a large number of expo-
sures, and, although not having quite discarded my baby camera
(previously described), I have, for the last few years been also using,
most successfully, a camera carrying forty cut films, which I find
to be a most reliable and satisfactory instrument. I still adhere to
lantern-plate size, and even smaller, as being so eminently suited for
enlarging in an ordinary lantern with 4-inch condensers ; but, instead
of enlarging directly on bromide paper, my practice latterly has been,

after first making
a lantern slide by
contact, to use the
slide in the lantern
for making an en-
larged negative.
This method has
the advantage of
allowing any de-
sired modification
in the gradations

Sandhills by the Sea

By Martin J. Harding of the original

Digitized by

Google

negative, besides giving an unlimited choice in our printing
medium. Fine pictorial effects are thus readily obtained up to
15 X 12, or even larger sizes. The wisdom of trimming down from
the original negative is an important matter, and I beg to submit the
accompanying subject as a fair example of the result of careful cut-
ting away of excessive material.

Notwithstanding the multitude of new developing agents, there
is still nothing for all-around work to beat our good old friend pyro,
although, in special cases of weak light or very rapid exposures, a
metol-pyro developer may be used with some advantage. The bulk
of my exposures are still made at not more than one-fifteenth second,
with the lens at F 16, and a plate or film of medium rapidity. Great
strides have been made in the speed of plates, and the quality of the
most rapid has been vastly improved. Still, great care is required in
their development, and the latitude they allow in over-exposure is, of
course, much less than of the medium speeds, which are amply
quick for general purposes.

A really valuable reducer of over-density has lately been intro-
duced, for in a careful use of persulphate of ammonium, it is certain
that hand camera workers, who so often get hard contrasts, will find
a complete cure for this common defect. Over-density is readily
cleared away, without any reduction of the shadows, care being taken
to use a weak solution under complete control, followed at once by a
ten per cent, bath of sodium sulphite, to stop its action, and a final
fixing in fresh hypo.

In printing materials, print out platinum paper still holds its own
for simplicity and permanency, while for warmer tones the new
self-toned P. O. P., requiring only to be fixed in weak hypo, gives
most pleasing results. If ordinary P. O. P. is used for gold toning,
the preliminary washing may be safely dispensed with and mucli
time saved by adding about thirty grains of sodium chloride to each
eight ounces of toning bath, and putting the dry prints therein. For
enlargements there is nothing to equal a good rough surface for
pictorial work, and even in making direct prints from my small
negatives I have long ago learned to discard the usual glazed surface
m favor of the beautiful matt surface papers, a more familiar
acquaintance with which I venture to commend to our American
cousins.

OZOTYPE

By T. Manly

T is to be regretted that the beautiful and permanent photo-
graphic printing process by means of sensitive carbon tissues,
invented by Mr. Swan, in 1864, has not attained the popularity
among amateur workers that its charming results would seem to
warrant. This may be accounted for by the following facts : that

Digitized by

Google

there is no visible image dur-
ing the progress of printing;
that the pigmented gelatine
picture is reversed in regard
to right and left, unless a
second process is carried out ;
and that the sensitive gelatine
tissue changes its character
every day it is kept.

In ozotype, it is the paper
or support that is to hold the
picture which is rendered
sensitive to light; and the
image prints out on such a
surface in a pleasant brown
color, much more conspicu-
ously than on a ferric or plati-
num paper, and next in point
of visibility to silver chloride,
and the paper in its sensitive
I condition will keep good for

Reproduced from Ozotype by the Author ^^ least two months^ A solu-
^ j^r ^ ^jQj^ ^£ potassmm bichromate

and a manganous salt is used to produce the light-sensitive surface.

After exposure, the print is simply washed in water, when it will
keep indefinitely. Here is a distinct advantage over the carbon
process. The initial print after being washed can be kept for any
length of time until it is convenient to pigment them. The pigment-
ing operation is very simple. Insensitive carbon tissue (a special
tissue for the process is being prepared in England) is immersed for
about one minute in the following- solution :

Glacial acetic acid 4 to 6 parts.

Hydrochinone i " 2 "

Water 1,000 "

The print is then brought in contact with the carbon tissue under the
surface of the solution, and both are drawn out clinging together, and
squeegeed on a flat surface. They are then surface-dried between
blotting papers and hung up to dry. When dry or nearly so, the print
with its adherent carbon tissue is placed in cold water for about half
an hour, when it is ready for development, which is performed by
immersing it in water at a temperature of 104° F., when the backing
of the tissue can be removed, and the soluble gelatine washed away
practically in the same manner as in the present carbon process.
Patents for the use of this process have been granted in the United
States and Canada.

Digitized by

Google

LOCAL DEVELOPMENT

By Osborne I. Yellott

{Illustrations by the Author)

FROM the examples of modern photography which the gen-
eral public has an opportunity of examining, it would seem
that local development is a branch of the art but little under-
stood^ or, if thoroughly understood, but little practiced.
Hours are spent over refractory negatives from which it is
hoped to get prints approximating a realization of the artist's concep-
tion of his subject, and every time a print has to be made the same
ordeal has to be gone through with. In fact, many writers claim
that the negative itself is but the beginning of the picture that is to be,
and that all depends upon the printing. While much of this is true, it

Child Study

is nevertheless a fact that a great deal of the trouble and uncertainty
of artistic photographic printing can be avoided by the expenditure
of a little more time over the developing tray. A few writers have
touched upon this subject.

We are told, for instance, that in developing a plate from which
we hope eventually to print both landscape and clouds, we should
restrain the sky by the use of a solution of bromide of potassium
locally applied — an operation very simple in theory, but very uncer-
tain and difficult in practice. In many portrait studies, again, we are
told to develop for the shadows, and subsequently reduce the highest

Digitized by

Google

lights to printing density by the use of a reducer — another simple
operation from a theoretical standpoint, but tiresome and uncertain
when we get at it. If we desire to centre our higher lights and ren-
der the less important portions in a lower tone, w^e are told to sun
the latter down every time we make a print.

Now, all of these results, and many more, can be obtained by local
development, and when the work is once done it is done for all time.
But they cannot be accomplished in any three or four minute develop-
ment. The writer has on occasion taken a full hour to develop a
single plate ; but with that negative he can print in platinotype, silver,
bromide, gum bichromate, carbon, or any other process, besides all of
which, he can enlarge it to any desired extent, or reduce it to lantern
slide size and subsequently throw it on a ten-foot screen, with the
absolute assurance that in every phase it will be characterized by the
effect which he aimed at in development.

The possibilities of the method are more complex by far than its
practice, the latter being simple and reasonably certain after a very
few failures, they being necessary to teach one what to avoid rather
than what to do.

A double quantity of strong developer is first to be made up.
One portion is to remain in concentrated form, another is to be
diluted with its bulk of water, and the third diluted with from six to
twelve times its volume of w^ater. A fine brush and a supply of
absorbent cotton complete the outfit.

Now let us take a picture of a familiar type, and see what can be
done with it. For instance, take Wilkinson's rayfiltergraph, opposite
page 136, in last year's Annual. It was a Convention Prize Win-
ner, and may not, therefore, be susceptible of any improvement, but
we can try. Here we have a landscape with clouds, an uninteresting
foreground, a straight road with well-defined wagon-tracks, a range
of hills or rocks in the middle distance, and mountains in the far
distance, the whole lit by very bright, almost noonday sun. The plate

Digitized by

Google

was developed for the clouds. It assuredly was not developed for the
foreground or middle distance, nor was it exposed for either.

Instead of developing this plate in the ordinary full-strength or
even half-strength developer, we shall place it in our very weak bath.
In a minute or two the image will begin to come out, gaining density
slowly. After about five minutes of this kind of development, during
which the sky is gaining but a tithe of the density it would gain in the
normal developer in that time, we dip a wad of absorbent cotton in
the half-strength solution, and carefully take it up and down the
road, right through horse, vehicle, and occupant. This is repeated
several times, giving the near end of the road less forcing than that
nearer the middle of the picture. Then put the plate back in the weak
developer. Now we take our brush, dip it in the concentrated solu-
tion, and paint with it the horse and vehicle, being careful to keep
within their outlines, placing the plate back in the weak solution
from time to time, or rinsing and draining if necessary to keep the
developer from spreading. Next take the wad of absorbent cotton
wet with the half strength solution, and run it boldly over the central
Ix)rtion of the picture, including the hills in the middle distance, and
later the mountains behind them, using the brush with- the latter.
Continue this treatment cautiously until the plate has almost reached
its proper printing density, centring the highest tones somewhat, but
carrying the forced development to the edges of the plate, though
in a less degree, and replacing in the weak developer frequently, to
avoid spotting and streaking.

Next pour off the weak solution, and then flood the plate for a
few seconds with the stronger, or even the strongest, if it is still lack-
ing in density. The sky will now come up rapidly. As soon as it is
dense enough to print of the desired tone, pour off the developer,
rinse, and fix.

The print will now show a genuine sunlit landscape, a horse and
vehicle with some degree of definition in them, a crisp, bright stretch
of lowland, atmosphere between the vehicle and hills in the middle
distance, more atmosphere between the latter and the mountains, and,
finally, a sky of good tone, with just as good cloud forms, but far
less unnatural contrasts. The latter feature would not, however, be
so striking, and the picture would therefore probably not be a " Con-
vention Prize Winner.*'

Once the principle of local development is caught and a fair
degree of skill acquired in its exercise, the photographer will see
opened up before him possibilities innumerable. With most plates a
dilute development, with a touch of the stronger developer now and
then, will be all that is necessary. All the method needs is patience,
judgment, and a fair degree of manual skill.

Digitized by

Google

ODDS AND ENDS

By Henry Wenzel, Jr.

EVERY photographic worker is bound to be an inventor.
Necessities arise demanding new devices, new formulas, new
methods. Marketed devices and standard formulas must
give way to special devices, and formulas adapted to special
needs.

A Handy Adjunct.
A very handy adjunct to an outfit is a mirror, in which to see
reflected, right side up, the inverted image seen on the focusing screen.
How to carry the mirror without fear of breakage is the question. A
moment's thought will suffice to answer it. Remove the film from an
old negative of the full size of your focusing screen and thoroughly
clean the glass. Have this glass silvered, and when it is returned to
you in the form of a mirror, place it in one of your holders, into
which, of course, it will fit as snugly as a fresh dry-plate. Note care-
fully the number of the compartment into which it is inserted. Other
uses for the mirror I may leave unsuggested, as they will readily be
surmised.

Orto-Metol.
So many of those to whom I have given the formula for the pyro-
metol developer I employ have objected to it because " it stains the
fingers so," that I have combined Ortol and Metol with a view to
obtaining a stainless developer of good keeping qualities, giving
pyro-metol effects. My formula for the same in two solutions is
as follows:

Metol I20 grains.

Metabisulphite of potassium 60 "

Ortol 180

Bromide of potassium 50 to 100 "

Hypo 10 "

Water 47 ounces.

Sodium sulphite, crystals 4j^ ounces.

Carbonate of potassium ij^ "

Water 47

Or by hydrometer :

Sodium sulphite solution, test 40° 27 ounces.

Sodium carbonate solution, test 30° 20 *'

For use, take :

A 7 ouncefi.

B 8 "

Digitized by

Google

Digitized by

Google

Digitized by

Google

To make up the above in one solution, take :

Metol 12 grains.

Metabisulphite of potassium 6 "

Ortol i8 "

Sulphite of sodium crystals y^ ounce.

Carbonate of potassium 80 grains.

Bromide of potassium 5 to 10

Hypo I -

Water 10 ounces.

** Something to Go By/'

With all deference to those who advise beginners to learn by
experiment the correct exposure for various subjects under various

H. Wenzel Jr.

circumstances, and to avoid depending upon an exposure meter,
prophesying that, once dependent upon a meter, one can never be
independent of it, I state that actual experience in use of the
Wynne meter has proved otherwise in every case that has come
under my observation wherein the meter was intelligently employed.
It so often happens that I leave my meter at home, that, without con-
sulting it, from memory only and based entirely upon knowledge
gained from the use of the meter, I write the following :

When you have forgotten your exposure-meter or have left your
exposure-table at home, it is of advantage to have something better
than a mere guess to go by. If you will but remember that with

Digitized by

Google

stop F32 one-half second will be a safe exposure for an average land-
scape in bright sunlight during the summer months, any time
between, say, 9 a.m. and 4 p.m., with a little thought you will be able
to figure out the exposure for any subject in any light, and with any
diaphragm close enough to insure against gross errors of judgment.
Under the same conditions as above, double the above exposures for
mid-autumn, triple them for early winter, and quadruple them for
midwinter. Double the exposures required in bright sunlight if
bright diffused light prevails ; triple them if it is cloudy ; quadruple
them for objects in shadow or if the sky be heavily overcast. If in
addition to this you will remember that dark-colored objects near
the camera require at least double the exposure for an average land-
scape, and that an open landscape having a bright foreground
requires but half the exposure of the average landscape with its
mixed foreground of light and shade, you may leave your exposure-
table at home indefinitely and never miss it.

A HINT TO BEGINNERS

By Frederic G. P. Benson

{lUustrations by the Author)

ONE of the most prevalent temptations which beset begin-
ners in Photography, and which is very prejudicial to
sound and rapid progress, at any rate in the more purely
technical processes, is the continual shifting about from
one developer to another, and never-ending, and usually
unsuccessful, experiments with different toning baths. Most of the
published formulas are reliable, but in no case should they be consid-
ered any more than forming a starting-point, as it were, from which
each worker can commence his own trials, and as providing a con-
venient form of keeping the various chemicals in a state ready for
use. I propose to deal with only one subject, that of development,
and hope to show the variations of which any standard formulas, in
which the solutions are made up for use in equal parts, is capable.
Ten per cent, solutions have many advocates, and where much experi-
mental work is done they are undoubtedly very handy; but, after
considerable experience with both systems, I have come to the con-
clusion that " equal solution " formulas are the best for regular
every-day work. I will suppose that we have the stock solutions
made up, and, as is customary, call the Developer proper A, and the
accelerator B. Equal parts of these will give a developer of full
strength, which should hardly ever be applied to a plate of any kind,
and under no circumstances where there is the slightest doubt as to
the correctness of the exposures. With a suitably exposed plate and

Digitized by

Google

full strength solutions, the negative certainly comes up quick and
strong, and the result is eminently satisfactory ; but, considering the
very few instances when one can be absolutely sure of an exposure,
it behooves us to be very sparing in strong solutions at the commence-
ment of our developments.

A, I ; B, 3^ ; water, >4.

This is a good proportion with which to commence all ordinary
work where a negative of good density is required, and in many cases
development can be concluded without any addition. If, however,
progress is slow after the high lights have appeared, the remainder of
the alkali can be
added, and a good
result obtained.

For under-ex-
posed plates the
proportions would
be: A, J4 ; B, I ;
water, }i. This
will provide a
means of getting
all the detail pos-
sible, without any
danger of undue
density, owing to
the long time
which an under-
timed plate takes to
develop. If, as is
sometimes the case,
the negative ap-
pears thin after all
the detail has been
coaxed out, a sec-
ond bath of full
strength solutions
will work wonders,
and produce a
much more har- ^Archbishop's Palace, York

monious result than if the plate had been merely treated to one
bath. Over-exposure, on the other hand, calls for more A and
less B, say, A, i ; B, 34 > water, J4- If the image appears at all
quickly, the plate should be dropped into another dish containing
a weak solution of bromide, say one grain to the ounce, and left
for alx)ut a minute, and then returned to the developing solu-
tion. In most cases the picture will come up nice and steady, density
and detail being obtained simultaneously. In all cases where doubt
exists about the exposure, it is advisable to begin with a developer
weak in both constituents, say. A, J4 ; B, 3^ ; water, i. Development

Digitized by

Google

The Archbishop's Palace, Bishopsthorpe, York

will then be slow and perfectly under control, so that addition may be
made as need arises to secure detail or density. For portraits and
similar subjects this half strength developer will usually give suffi-
cient density without further addition.

Such are the principal modifications which can be made with any
formula, and, by sticking to one until he is familiar with the effect
produced by the various proportions, the beginner will have much
better chance of obtaining proficiency than if he chops and changes
about, trying any and every new developer that is placed on the
market. Of course, after a certain amount of skill has been acquired,
it does not follow that no other formula or chemical should be used.
I do not suggest that we should be slaves to any one pet formula, but
rather that we should so accustom ourselves to it that it becomes our
handmaid to do our bidding. All the developers on the market have
some characteristic rendering them specially useful for certain work,
and it would be foolish were we not to utilize them, when from the
experience gained by the careful and continuous use of one formula,
we are able to fully appreciate whatever advantages the newer sub-
stances may possess.

100

Digitized by

Google

A NOVEL COMBINATION SHUTTER

By Actinic

AN important element in photography, both as regards con-
venience in operating and control over results, is the shutter.
Although there are innumerable shutters on the market, one
recently designed and made by Mr. Vernon Royle, the
well-known amateur, possesses some novel features, and is,
in many ways, a model shutter — simple, easily handled, and permit-
ting of great accuracy in the arrangement of the diaphragm and
regulation of the exposure.

The chief and most distinctive feature of this shutter is that it
provides, within the limits of one device, for both single and stereo-
scopic lenses. These lenses are always in position ready for use, and
can be thrown into action by a simple and quickly made adjustment.
The construction of the shutter will be readily understood by refer-
ence to Figs. I and 2. A, Fig. i, shows the single lens, centrally located

-/7g/-

in the usual manner ; ai and a2 are the stereoscopic lenses. Imme-
diately back of the front lens cells is a flat plate, having three circular
openings, of the same dimensions as the orifices of the lenses, and so
arranged that, when the central opening is opposite the single lens,
both stereoscopic lenses will be covered. By a single movement, this
slide can be drawn to one side, covering the orifice of the central lens
and bringing two openings opposite the stereoscopic lenses. Imme-
diately back of this slide are the blades, B and Bi, of the shutter, the

lOI

Digitized by

Google

opening of which exposes the plate. These blades are two in number,
and are shown in Fig. 2. Each blade has three square openings, of
sufficient size to equal the diameter of the largest diaphragm opening
used, and each has a movement equal to this diameter, in opposite
directions. They thus, when in motion, pass each other, the two
square openings being exactly opposite each other when the move-
ment is half completed, opening the lens and exposing the plate, the
continuation of the movement closing the opening in the diaphragm,
which is entirely shut when the blades have completed their move-
ment.

The blades in Fig. i are shown in normal position, entirely clos-
ing the lenses. Let us suppose the slide back of the central lens has
been drawn away and an exposure is to be made, bi shows the open
square in B, while b2 shows the corresponding opening in Bi. The
shutter having been touched off in a manner which we will presently
describe, the slide B moves across in the direction of the arrow, C,
until the end of the slide ci reaches C2. At the same instant of time,
slide Bi moves in the opposite direction, from Di to D2. It will be

c—

seen that, in the course of this movement, squares hi and h2 will be
carried past each other, opening and closing the lens in a single con-
tinuous movement.

This has important advantages, and contains the elements of
great speed and certainty of action. In all shutters which open and
close in two movements, there must, of necessity, be a moment when
the blades are at rest; a certain amount of inertia to be overcome
while the lens is open ; and while it is true that, by mechanical treat-

102

Digitized by

Google

ment, this dwell can be greatly reduced, it still exists, and such a
shutter can never reach top speed. Further than this, in the shutter
we are describing, the use of two blades moving in opposite direc-
tions reduces by one-half the time required for a single blade, mov-
ing at like speed, to open and close the orifice of the lens.

The actuating apparatus of these blades is readily adjustable so
that longer or shorter exposures can be made, is very strong, and is
not liable to get out of order. The chief element in it is a flat spring,
E, Fig. I, the position of which is such that it can be made very
heavy and powerful, so that it will bring about results with little
stress. This greatly prolongs the life of the spring, and preserves
its resiliency intact no matter how frequently it may be used. This
spring, at its inner end, is connected by a link joint to one of a pair
of toothed segments, F and Fi. At its outer end it is connected by a
lever, G, to a bar, H. The lever G can be moved back and forth along
the bar H and held in any desired position by a clamp-screw, I.
When the lever G is at the centre of the bar H, the spring is entirely
relaxed. By moving it in toward the centre of the shutter, the spring
E is slightly bowed, and in its tendency to straighten itself it brings
pressure on the segment F, tending to draw it up, which it would do
if its action were not held in check by proper devices. Joined to the
ends of segments F and Fi are two levers, J and Ji, which, in turn,
are jointed to bars J2 and J3, these latter being securely attached to
the blades B and Bi at K and Ki. At L and Li are catches which
engage with bars J and Ji and suspend the action of the shutter until
they are released. It will thus be seen that, by the drawing down of
the segments F and Fi, the bars J2 and J3 will be moved in opposite
directions, carrying the blades B and Bi with them. The latches L
and Li are controlled by a cylinder and piston operated by a bulb.
Hence, to make an exposure, the lever G is drawn along the bar H
a sufficient distance to give the desired pressure on the spring (the
greater the distance it is moved, the more the spring is bent and the
more rapid the exposure), the latches catching the outer ends of the
levers and suspending the action of the spring until released by the
bulb action, when the spring relaxes and the exposure is made. To
make a second exposure, by moving the lever G along the bar H to
a point opposite that at which it was first set, the blades will operate
with a movement the reverse of the first movement, or the blades
can be instantly restored to their first position by a simple movement,
without disturbing the lever G. For retarding the movement of the
blades B and Bi, a cylinder, M, is provided which acts as a brake on
the levers J and Ji. This cylinder is pierced with holes, a greater or
fewer number of which can be brought into play, the action of the
shutter being retarded according to the number of holes left open for
the escape of air. When a plate is to be exposed for a considerable
length of time, the bulb is transferred from the cylinder L2, which is
thrown entirely out of action, to the cylinder M, and a catch, N, is
lowered which permits the blades B and Bi to pass but half-way,

103

Digitized by

Google

leaving the lens open. By relaxing the spring E, the blades can be
moved by the action of the air in cylinder M and held open until
released. This motion can be easily controlled, and can be made
almost instantaneous or greatly prolonged. Another way to make
time exposures is to loosen the clamp nut I and move the lever G
back and forth by hand.

The equipment of the shutter includes a ready means for chang-
ing the diaphragm opening and for making the opening mathematic-
ally accurate. For this purpose, three flat metal disks, O, Oi, and
O2, Fig.2, are provided, around the edges of which are drilled holes
of the desired sizes, each opening being numbered consecutively, and
the openings for the stereoscopic lenses being drilled in proportion to
the others so as to produce equivalent openings. These disks are all
moved in harmony by a knob, P, so that opposite each of the lenses
shall be equivalent openings. The number of the diaphragm opening
in use at any time is shown in the opening Q, Fig. i. This arrange-
ment possesses practical advantages, as it provides for absolute accu-
racy in the diaphragm, and, where it is desired to take single and
stereoscopic pictures of the same object, insures proportionate open-
ings in all lenses.

The entire shutter is made of aluminum and is very compact, its
entire thickness being about three-sixteenths of an inch. The lens
sockets are made with interrupted threads, as shown in Figs. 3 and
3a. By using threads cut out in this manner, the lens is held about as
securely as with full thread, and can be put in position and locked
with a single movement. This is a very handy method where a
variety of lenses is carried and changed to suit special conditions.

As previously stated, the distinguishing feature of this shutter is
that it provides, in compact and convenient form, a means for taking
both single and stereoscopic pictures. The ordinary equipment for
stereoscopic work is an unhandy addition to the outfit, and its use
involves considerable trouble in changing the camera whenever a
stereoscopic picture is to be taken. With this shutter, the addition to
the weight of the camera amounts to nothing practically, and both
stereoscopic and single lenses are always ready for instant use.
There are many bits of scenery peculiarly adapted to stereoscopic
treatment, and, in cases where it is desired to take both single and
stereoscopic pictures of the same subject, the particular advantages
of this shutter are very apparent. The diaphragms and lenses all
being set in harmony and regulated by a single action, both types of
pictures can be made at one setting of the camera. Aside from this
special advantage, this shutter for all-around work has few equals.
The facilities for both instantaneous and time exposures are com-
plete, and give the operator entire control of the duration of the
exposure. It is, in short, a shutter of great general utility, suitable
for field work under the most varied conditions, and well calculated
to meet the various and often unexpected contingencies which so
commonly confront the photographer.

104

Digitized by

Google

Digitized by

Google

Engraved by By Knaffi Bros.

Electric City Eng. Co.,
Buffalo. N. Y.

FROM COMPLIMENTARY EXHIBIT,
P. A. OF A. CONVENTION. 1899

Digitized by

Google

By selecting suitable lenses in combination with a shutter of this
type, the amateur can supply himself with facilities for a wide range
of work without encimibering himself unduly. For example : a line
of lenses could be selected from Series 2 of the Dallmeyer Stigmatics,
which would include a well-balanced series of focuses. Suppose two
lenses No. lA of this series were used for stereoscopic work. With
the full lens the equivalent focus is 4 inches, with the front combina-
tion 6 inches, and with the back combination 8 inches. For 5x8
single plates, No. 5 of this series will give 9 inches, 13.5 inches, and
18 inches. These lenses can all be fixed in the shutter and carried
as conveniently as a single lens. With an extra emergency wide-
angle lens, say No. 2, working at 5.3 inches, 7.9 inches and 10.6
inches, the assortment is complete, and the photog^pher is pre-
pared for pretty much anything that may come his way.

To derive full benefit from such a shutter and lens equipment the
camera should be of the square front type, with long bellows (say
eighteen inches), with sliding detachable front and swing back.
Such an outfit is an ideal one for the amateur, and it is matter of
surprise that lens and camera makers have never placed anything of
the sort on the market. It could not fail of popularity, as the want
of some such handy all-around outfit has been felt by many amateurs,
who would be tempted to try their hands at stereoscopic work if they
were not deterred by the inconvenience of carrying around the cum-
bersome equipment commonly used.

PRESENT METHOD OP TONING

By Robert E. M. Bain

IT seems a pity that the fad for an easy method of toning should
have led us to accept the cold black tones that now seem to be
predominant, for the warm tones, that required some experience
to produce with the best effect. What seems to be wanted now is
a bath in which you may place the prints till they get " gray,"
when they are fixed, or, more lately still, a bath that simply requires
one to place prints in it for ten minutes, when they are found to be
fixed and toned as well. The results are cold, hard, lack depth and
feeling, and, while they m&y have the " engraving effect,'' it can
hardly be said that they look like good steel-engravings, for a really
good engraving would shame any of them.

Platinum prints make fine pictures when the subject is selected
with care ; but all negatives will not make good platinum prints, nor
will good negatives of all subjects, while a majority of negatives
zvill make good prints, if they are intrinsically good negatives, if they
are printed in warm, rich tones from a deep brown to a rich purple.
A few years ago a print made from some of the papers now hav-

los

Digitized by

Google

ing large sale would not have been " accepted " at an exhibition ; but
** everything goes " now, and the careful worker is handicapped by
those who buy all mixtures ready prepared, and get credit for worlc
that is more the manufacturers* than their own. All of this is to be
regretted, for it has a tendency to discourage those who work for the
best effects rather than for the easiest method. Let those who do good
work look to it that they get the best effects from their negatives, and
print those in sepia that are best adapted for that kind of print, and
those in platinum that give by that method the most artistic result.
Let those who would obtain the most satisfactory pictures use some
judgment in their work, and not adopt a method that gives the least
work, for it generally gives the least satisfaction as well.

MULTIPLE EXPOSURES

By Robert M. Reevs

( Illustrations by the Author )

SOMETIMES it is advantageous to make two or more expo-
sures on one plate. To present one method of doing this is
the object of this writing. Those who own a ferrotype or
Victoria camera would perhaps prefer it for the purpose,
but it is unnecessary to add one to our stock of photographic
possessions, as a similar result can be accomplished with a 4x5 fold-
ing hand or other suitable camera with a little carefulness, a good
quality to have on hand at all times The usual form of ferrotype
camera has either four, six, or nine lenses, the images being produced
in multiples of these numbers by means of suitable openings in card-
board screens and a shifting device at the back of the camera. The
follow^ing method differs somewhat from the above-named in that
but one image is produced at a time, each exposure being for a differ-
ent pose With care in remembering what part of the plate you are
working on, the experimenter has a good chance
to secure studies of posing and lighting, all on
the same plate, handy for comparison, and with-
out any extra expense for a separate camera.

As it is of importance to produce images that
will print alike or nearly so, care should be exer-
cised to make the proper exposure for each sub-
ject, and as the process requires a little time to
complete a series, the difference in daylight, the
sun being obscured or clear-shining, should be
allowed for. A slight difference in the density
of one of the images may be compensated for by masking suitably,
either for thinness or density.

106

Digitized by

Google

The Old Senate House
doing no harm, because

little of the plate is

Most hand
cameras being
set for a five-
foot near focus,
their copying
facilities are
somewhat lim-
ited. Using the
screens, this
may be par-
tially compen-
sated for by
being enabled
to get four or
six images on
the plate, the^
reduction in
size of image
wasted.

The borders of the resulting pictures may be black or white. The
former is obtained by cutting with a knife-edge and ruler two straight
cuts, and scraping away the film between them, thus forming clear
glass borders in the negative ; the latter, by cutting strips of black
paper of suitable width, placing them at proper intervals apart, and
fastening their ends to the back, or glass side of the negative with a
little paste.

The routine of operations is as follows: For each picture, first
remove the ground glass, and place screen in proper position ; second,
return ground glass to its place, and focus and centre object ; third,
make exposure with plate holder in, and when finished proceed like-
wise for each successive picture. This method of producing multiple
H^^^_,^ ^^^^^ pictures is applica-

^■21 ^^H i^H ^le to
^■^ ^HH H^H only where the
^HHI ^^^^i ^^^^I camera fitted

^^H ^M 3 1 4 ^M with a detachable
^^^ ^ ' ' ^ roll holder. In

making the expo-
sures, make either
the upper or lower
set first, then
change the height
of camera for the
next set.

Diagrams ap-
pended herewith
show the positions
of screens and suc-

107

Digitized by

Google

cession of exposures for four and six exposure plates, the respec-
tive openings being one- fourth and one-sixth the size of the cardboard.
But one screen is needed for four exposures, and two for six expo-
sures, while for three exposures three pieces of cardboard are neces-
sary. Diamond or other shaped openings in screens may be made
to suit the ingenuity of the experimenter ; but in such cases opaque
screens must be provided to prevent double exposures, especially if
openings are irregularly placed. All screens should be blackened well
on both sides after cutting away openings, common black ink answer-
ing the purpose ; and also made a trifle larger than the inside of the
frame in one direction only, as they should remain in place while the
ground glass and holder are being removed and replaced. Other
applications of this method will, no doubt, suggest themselves as
occasion arises.

The Coming Storm

THE RETOUCHING-KNIFE

By Henry Eri.e Cooper

IN drawing the attention of the readers of the Annual to the use
of the retouching-knife, I am fully aware that I am not the herald
of any new discovery. My wish, however, is to emphasize the
value of a power which up to the present time has been but scant-
ily appreciated. It is somewhat strange that the use of the knife
in conjuncture with the pencil, at the retouching desk, is so slowly
finding favor with retouchers. By its aid a new power is placed in
the hands of the photographer. Whereas in the past he possessed
only the power to modify the negative by adding density or lights to
the negative, with the aid of the knife he is enabled to increase the
shadows and reduce the high lights or any portion of the negative he
may desire. Again, with the knife it is possible to remove any por-

io8

Digitized by

Google

tion that may not be desired which at the time of exposing escaped
the eye or was incapable of removal.

Probably the knife will be found most useful in cases of move-
ment and double images. Every photographer must at various times
have had occasion to regret the spoiling of some important negative
through a movement of the sitter. With a group this is a more fre-
quent occurrence, especially when pet animals, dogs, for instance, are
included. With children, too, an otherwise good negative is often
spoiled by double hands, arms, or feet. With the pencil alone, it is
seldom possible to remove all traces of the movement, but with the
knife the removal of any secondary image is easily accomplished.
Again, should the head-rest or any other objectionable feature show,
it ought not to be a difficult matter to effectually remove all traces of
the defect. In cases where the hair shows signs of grayness or light-
ness, a careful darkening will be appreciated by the sitter. The great
advantage of doing this with the loiife on the negative is that, unlike
brushwork on the print, there is no sign of it, and, moreover, a thou-
sand prints may be printed without any necessity of again touching
the defect.

Like retouching with the pencil, it is an art that requires a steady
hand, good eyesight, and incessant practice. To those retouchers
who have not yet attempted to use the knife, the following hints may
be of some service. In the first place, it is important that the film be
quite dry and hard; also, that it be unvarnished and free from
mediimi. In working at the desk, it is essential to use a strong light
to see by. The light that is sufficient to retouch by will be too weak
to work by with the knife. I believe that special knives for retouch-
ing are sold, but personally I have found the sharp blade of a good
penknife with a firm handle quite sufficient. Probably the most
important point in using the knife is, never to allow it to go right
through the film. Doubtless, at first, this will be found difficult to
avoid, but with practice it will be found possible to cut half way
through the film, or, rather, to scrape it thin. To do this properly it is
necessary to hold the blade of the knife at right angles to the surface
of the negative, and reduce the thickness of the film by gradually
scraping it away. Of course, this is a somewhat delicate operation,
and had better not be attempted on an important negative until
thorough proficiency has been acquired.

As I said before, nothing but incessant practice on unimportant
negatives will produce success. To those, however, who do succeed
in attaining the necessary skill, the trouble involved will be well re-
paid by the additional power acquired.

109

Digitized by

Google

IMPERSONATIONS

By E. E. Weatherby

( Illustrations by the Author )

IT has been my good fortune during the past year to make quite a
lot of character work for a well-known impersonator. That the
results were satisfactory to him is attested by his earnest words
of appreciation upon receipt of the work. I believe, however,
that to a very considerable extent the success of the finished work
was due to the subject himself. But why?

Have we not seen character work in which the disguise was not

only ** thin," but ridiculous as
well ? Have we not seen many a
brave warrior (?) in the act of
drawing a sword, the expression
accompanying the act being such
as might be caused by acute indi-
gestion, or the blank look of the
imbecile, instead of the deter-
mined look necessary to give the
face the proper appearance and to
harmonize with the balance of the
picture? One is dismayed in try-
ing to determine whether it is a
case of attempted suicide, frus*
trated by a too tightly sheathed
sword, or, perchance, the figure of
a poor unfortunate whose reason
has been dethroned and who now
imagines himself to be Alexander
the Great.

What is wrong? Why these

incongruous productions? Is it

the fault of the operator?

Only partially so! For a successful portrayal of this class of

work, the disguise of the original must be deeper than the paint with

which it is outwardly obtained.

I have in mind the person referred to above. To work with and
for him is a pleasure. He not only appreciates what you are doing
and aids you at every turn, but he so completely loses all conscious-
ness of his natural self that for the time being he is actually the char-
acter he is impersonating. From the time he appears under the sky-
light imtil he divests himself of his " make-up,'' he claims that he
cannot be other than the character he represents. All his inquiries
and suggestions, for instance, are made in a tone of voice exactly

Digitized by

Google

Impersonations

Digitized by

Google

Digitized by

Google

suiting the impersonation, and I find myself frequently on the point
of forgetting the real person, so completely is his identity hidden
under the disguise.

With such a subject one is assured of success if he does his duty.
Coupled with his versatility is his willingness to comply with any
suggestion made with reference to aiding him along certain lines;
and, as his confidence in the operator is unbounded, he does not try
to lord it over the one who is endeavoring to reproduce and retain his
efforts for future inspection.

The subject should pose himself to a certain extent, as he natu-
rally has a better conception of the role he is assuming than one who
may, perchance, have no idea of the part whatever. In that case, it
would obviously be folly for the operator to dictate simply to obtain
certain effects, which, though they might be pleasing to him, might
be entirely foreign to the ideal he is working out.

It is not easy to assume a character, or, in other words, to be other

than our natural selves, and hence

it is that we have so many poor
impersonators scattered abroad.
Xo matter how fine your chemical
results may be, no matter what
accessories are introduced into the
picture to carry out your ideas, or
what trouble you put yourself to
in any way, if you find no response
in your subject to the ideal you
and he have in view, your results
are sure to be failures.

Get your subject to enter fully
into this ideal, neglect none of the
little details which so materially
aid in making your work a suc-
cess, and, as the old saying goes,
" All things else being equal," your
efforts must of necessity bear evi-
dence of honesty, to say the least.

ARCHITECTURAL WORK

By Fred W. Pilditch

WE fear that the popularizing of the hand camera,
which means in not a few instances the depopular-
izing of photography, has had an injurious effect upon
the fascinating chann of architectural work, par-
ticularly in the case of our younger disciples. We
do not wish to be misunderstood. Being the author of a booklet on

113

Digitized by

Google

the use of the hand camera, and having, under the style of " Verton,"
contributed to last year's Annual an article in favor of the use of
hand and other small cameras, we would be the last to sound any-
thing but eulogiums in favor of such instruments.

But the hand camera is merely an indication of the times in which
we live. It suits the headlong hustling of the present day, and its
unique simplicity of action, combined with great portability and
unobtrusiveness, makes it a valuable adjunct and recreation to many

in their strug-
gle for exist-
ence.

We are con-
vinced, then,
that architec
tural work —
especially is
this the case
with interiors
— is a " wee bit
slow " in many
instances, and
thus we get
only a mini-
mum of our
recent workers
taking up this
beautiful, rest-
ful, reposeful
line of work.

Now, it is
to those who
have had this
opinion that we
address the
couple or so of
hints which are
to follow, and
by which we
hope the weari-
ness of waiting will be reduced to the vanishing point. During
this interval of exposure, which is often one of prolonged dura-
tion, we invariably, when alone, sit and read the history,
romance, or tradition of the building which is forming the subject of
our photography ; and warning is here given, viz.. Do not forget the
photography by becoming too absorbed in the reading process. It is
surprising how soon an hour slips by while we are so engaged.

Failing this, or perhaps of more importance, we may occupy our
time in photographing by means of a hand camera, or other smaller

Tite Angel Choir, Lincoln Minster By James Gale

Digitized by

Google

instrument, detailed work in design, or characteristic carving, or the
symbolic system of devices dear to all archaeologists. But as these
forms require " time exposures," it will be necessary to be able to
support the instrument, and we find that a yard or two of string is
often useful for attaching the camera to knob, gate, or pillar, or even
to a drawing-pin well pressed into either wood or plaster. Some
three or four views may be secured in this way while the first expo-
sure is being made in the larger instrument. But the warning now is
this : Do not get " too many irons in the fire."

If your inclination urges you in neither of the above suggestions,
then we advise a tour of inspection with the idea of selecting posi-
tions for your future exposures, and then you will have no need to
rush and select when the first view has been taken. In looking
around you will be astonished to find what a wealth of subject will be
found, especially in our older churches, by way of monuments, monu-
mental brasses, stone tablets, and other stone effigies. The time occu-
pied in doing this is spent to advantage, and we have often remained
the whole day in a church alone, without feeling wearied or tired, and
have emerged with additional knowledge upon the building which
we selected, thereby adding considerable feeling and interest to the
photographs we have taken. Such days as these we personally enjoy,
except from the point that in churches and the like the memorial
stones enforce upon us the truth that

*' We are such stuff as dreams are made of,
And our little life is rounded in a sleep."

PRECONCEPTION

By G. W. Pach.

THE importance of having vividly in mind your subject,
be it a portrait, view, group, or what-not, before you draw
the slide is not sufficiently understood, but it should be a
matter of deep concern and interest. Just try it in your
practice, and take, for instance, the scene upon which you are
about to draw the slide, and imagine it as you would have it finished,
and even framed. Trim the picture mentally, either narrow or broad
as it may suit your feeling and fancy, and get the strength of light and
shade. All these things must be governed by the conditions that
confront you. Now is the time not to go on, if the position does not
suit you, or to take the consequences if you make the exposure ; for,
be it good, bad, or indifferent, you are the author. My point is that
you be sure to see the work finished in your mind's eye before you
drive a nail. Now, to give a clearer example of what I mean, take,
for instance, the world's wonder, the Brooklyn Bridge. Roebling
had in his mental vision this whole structure suspended across the

115

Digitized by

Google

river before a single wire
was told out. There the
skill of the inventor played
its part. If he detected a
flaw, then was the time to
set it right, not after the
Bridge was built with its
expenditure of millions.
I hope this thought may im-
press some readers of the
Annual at least, and help
them to procure results on
the basis of mental calcula-
tions. When your work is
finished, study it, and com-
pare it with your mental
notes. The same advice
holds good in the case of a
portrait. Does not the ex-
pression suit you? Study
it, and lead your subject
into a frame of mind or line
of thought that will sug-
gest the expression you de-
sire. Much skill can be
Twilight By Wm. Ferris, Jr. .Hsplayed in bringing this

about, and the victim need not look as if he were about to be exe-
cuted. If anything in these few lines proves of help to the beginner
or struggler, I shall be well repaid.

A LANTERN SLIDE PROCESS OF TWENTY
YEARS AGO

By H. Pickering.

I OFTEN wonder if the dry plate lantern slide workers ever
saw a dry wet lantern plate manipulated. The term " dry
wet '' may seem a bit ambiguous, but it will explain itself
later on. When I used the collodion process (and I
often use it now), the dry collodion was a very favorite
process, and to-day the results arc not to be beaten. Perhaps
in the later makes of gelatine lantern plates a trifle more detail
is to be observed, and, it is true, a greater range of color is
obtainable; but how often are various colors required? I do
not see any color to approach the lustrous velvety purple of the
dry collodion slide, something like the bloom one sees on the

1x6

Digitized by

Google

Digitized by

Google

Digitized by

Google

grape when it is hanging on the vine, and it has a further
similitude in this respect, it will brush off if rubbed before dry.
Then there is another aspect of the case, a condition which appeals
to amateurs who find serious inroads on their pockets with lantern
plates at one shilling a dozen. I refer to the economy of the process,
because, if the plate after development proves a failure, it can be
used over and over again by flowing and sensitizing. The dif-
ference in cost is remarkable. A dozen of the dry collodion plates
can be made for 3d or 4d (not exceeding 10. cents), and the
developer costs but little or nothing.

Any collodion will give good results, but I prefer a bromo-
iodized sample rather red in color. If it is too new to give the acid
reaction and red color, add the smallest quantity of iodine, or a few-
drops of tincture of iodine, and filter through cotton wool. Then
flow the plate in the ordinary way, and allow the film to set just a
little longer than you would if you were going to use it for a
wet plate. Then place in a dipping-bath, thirty-five grains to the
ounce of silver, and slightly acid, certainly not alkaline, for four or
five minutes, take out, and drain. Wash well under the tap. Mind,
it must be washed well, because on this depends its future keeping
quality. Now pour on the plate about a teaspoonful of the follow-
ing preservative mixture, and allow it to flow over the plate and off
at one corner into the sink; again with another teaspoonful, and
flow off at another corner, and so on for the four corners. The
preservative is compounded thus: Take half a pint of good ale,
and dissolve in it half an ounce of lump sugar, and filter; but
before filtering, shake it up well, and leave the cork out to disengage
the gas, or it will eventually cause pinholes in the film where a
bubble of gas has prevented the preservative from flowing. This will
keep any length of time, and the older the better. Place the plate
on edge on blotting-paper in the dark in a warm place to dry, and
mind to dry equably, or a line will result. The plates can now be
put away until required, and will keep well for at least a month,
if properly washed before flowing with preservative. If they are
not well washed, they will gradually develop a brown color on the
film, and the whites of the image will suffer.

For exposure, of course, a great deal depends on light and class
of negative ; but I find for contact exposure two seconds to daylight
ample. When the plate has been exposed, take it into the dark-
room, wash off the preservative by flowing for a few minutes with
water, and then, holdng the plate by one corner with the finger and
thumb of the left hand (the characteristic collodion develop), pour
on a tablespoon ful of the following developer :

Pyro 2 grains.

Citric acid 28

Silver bath 2 drops.

Water i ounce.

Keep pouring on the plate and tilting it off into the measure

117

Digitized by

Google

and back again slowly, and the picture develops up slowly, beau-
tifully, and pluckily. If not plucky enough, add another drop of
bath solution, but do not have the blacks too black. Leave them
slightly gray, transparent, showing the detail in the shadows.
When the development has proceeded far enough, wash well with
water, and fix, either with 25 per cent, hypo solution or a 5 per
cent, cyanide of potassium solution. I like the latter clearing the best
for collodion plates. Again wash well and dry, and, if the resulting
color is not to your mind, tone it in one of the many ways now offered
for toning lantern slides; or the color may be changed to a purple
bordering on a violet by flowing with the following solution and
well washing:

Iodide of potassium, one dram, dissolved in four ounces of water ;
add until the precipitate is redissolved a solution containing 10 per
cent, bichloride of mercury. This forms a powerful intensifying
agent, and according to dilution with water will give a great range
of density.

I am quite sure that this process will commend itself to any one
who will conduct the process properly in its early stages.

F. W. J.

PRODUCTION OF NEGATIVE VARNISHES BY
MEANS OF EPICHLORHYDRIN

By Prof. E. Valenta

{Translated by Henry Dietrich)

THE epichlorhydrin is a colorless liquid of agreeable odor,
which is produced from dichlorhydrin (CaHgClgOH) by
treatment with solid caustic soda. Its composition corre-
sponds to the formula CgHgClO. It boils at 117° C, and is
a good solvent for nitrocellulose. H. Flemming recom-
mends it for the production of nitrocellulose varnishes (Japan var-
nish), as also for the gumming of celluloid.

I tested the behavior of this body in comparison with a number of

118

Digitized by

Google

gums which serve for the production of varnish, and found that it
is a very good solvent for certain copals, and in combination with the
latter gives varnishes which leave a very hard surface, with great
power of resistance. These varnishes (correspondingly diluted) are
very suitable for the varnishing of bromide of silver gelatine nega-
tives. The coating is very solid, and allows plenty of retouching
with the lead pencil.

I give herewith a formula for the production of such a negative
varnish, and would say that it can be applied to advantage either
warm or cold :

Digest 20 grams of Manila copal with 70 grams of epichlorhydrin
in a beaker-glass for some time in a water-bath, and after solution
add 100 c. c. of alcohol.

The varnish is filtered, and according to requirement is diluted
with a mixture of equal parts of epichlorhydrin and alcohol.

WHY PRINTS TURN YELLOW

By John R. Clemons

PHOTOGRAPHS will not fade if they are properly pre-
pared for keeping. There is hardly an establishment to
be found where you may not see faded and yellow prints
hanging on the walls or in the show-cases. Proprietors
who are busily engaged are not able to attend to details
and be in all and every department, and the printing-room is where
the work suffers most, as it is often given to incompetent hands at
low wages, who never read photographic w^orks. I know I am
treading on the toes of some of my best friends, but I have said
this much, and here I stop and proceed with my tale of woe.

When prints are only half washed, then toned, and placed in the
hypo bath, their fate is sealed. It is here the prints meet their
destruction by the formation of hyposulphite of silver in the print.
The print at first has the appearance of being in perfect bloom,
but it will not be long before you can see it is changing in tone and
taking on a yellow cast. I paid $1.50 apiece for some prints before
the Centennial opened in 1876, which now are yellow and have a
faded look. I also have prints made from ten to twelve years ago
that do not appear to have changed in the least.

T. Frederick Harwich, in his " Photographic Chemistry," 1856,
page 98, gives the following directions for the production of hypo-
sulphite of silver :

" Twenty-one grains of nitrate of silver and sixteen grains of
hyposulphite of soda may be taken, dissolving each, in separate
vessels, in half an ounce of distilled water. These solutions are
to be added to each other and well agitated. Immediately a dense

119

Digitized by

Google

deposit forms, which is hyposulphite of silver. At this point a
curious series of changes commences. The precipitate, at first white
and curdy, soon alters in color. It becomes canary yellow, then of
a rich orange yellow, afterward liver color, and finally black. The
rationale of these changes is explained to a certain extent by studying
the composition of the hyposulphite of silver.''

There should be at all times an excess of hyposulphite of soda,
to make sure that there are no unfixed blotches to be seen from
bubbles, showing dark spots after the print is washed and dried.
The prints should be kept moving until they are ready to be removed
from the hypo bath. The aluminum chloride and gold bath is to
be commended, as the aluminum forms a pabulum for the deposit

of gold.

I have shown that hyposul-
phite of soda will not act upon
nitrate of silver further than to
turn it into an insoluble dark
compound ; but it has other quali-
ties, and it is a poor rule that will
not work both ways. The follow-
ing wall show that hyposulphite
of soda acts readily upon chloride
of silver: Dissolve twenty-one
grains of nitrate of silver in a
small quantity of water, then
throw down the dissolved silver
with table salt. When this is
accomplished, wash the precipi-
tate well to free it from the salt.
Then dissolve sixteen grains of
hyposulphite of soda in a like por-
tion of water, and add to the dis-
solved silver nitrate, when it will

n r> T ry r^ U7 take up the chloride that was
By B. L. H. Dabbs , , ^r t

•^ already formed.

I send with this my formula for silvering and toning with gold
and aluminum, and salting the prints from the toning bath. Here
is where a perfect chloride is formed with the silver that has been
left in the print from the washing. (It is to be seen that hyposul-
phite w^ill not remove free nitrate of silver from the print, but readily
when turned into a chloride of silver.)

Silver Solution for Matt Surface Paper, — {Ammonia — Nitrate of

Silver.)

Silver 480 grains Troy.

Water 11 ounces.

Dissolve and pour off two ounces, and to the nine ounces left add
strong aqua ammonia to form a precipitate and redissolve the pre-

120

Digitized by

Google

Digitized by

Google

PORTRAIT STUDIES
By E, C. Dinturff

Digitized by

Google

cipitate, then add the remaining two ounces, which will form
another precipitate; to this add nine drops of nitric acid, C. P.
Apply this to the paper with a tuft of cotton. See that the sheet
is well covered when dry. Print without fuming.

Any good toning bath will give good results, but I use an alumi-
num toning bath, which is prepared as follows :

Aluminum Toning Bath — (Formula, Stock Solution.)

Chloride aluminum 80 grains.

Bicarbonate of soda 360 '*

Water 48 ounces.

When mixed this will form a flocky hydrate which will settle
to the bottom. It can be strained through clean washed muslin. To
prepare a small bath for toning, take tweleve ounces of the stock
solution, and add sufficient gold to tone in eight to ten minutes,
The gold solution must be neutralized with bicarbonate of soda
before adding to the above bath. When the prints reach the
desired tone, throw them into a bath of salt water, made of water,
one gallon, table salt, one ounce. This will arrest further toning,
and at the same time turn the free nitrate of silver that is left after
the first washing into a chloride, and the hypo bath will clear or fix
them very much quicker. By using the aluminum bath, the prints
change very little in tone in the fixing solution. If you have albu-
men prints, tone them first. Generally there is enough gold left
to tone a large amount of plain paper prints.

The Fixing Bath,

Hypo 2 ounces.

Water 12

Prints will fix in about five minutes, with but slight change in
tone.

TRANSPARENCIES

By H. W. Hales

THERE is probably nothing more beautiful in the whole
photographic world than a good transparency or lantern
slide, and, judging from the few really fine specimens
seen, this branch of the art is not nearly so much prac-
ticed as it deserves to be. What can be more beautiful
to a lover of art than the exquisite detail, delicate half-tones,
and the brilliant snap or sparkle in a well-made transparency.
The photographic worker who is also an artist (and there are
now many such), who has not viewed first-class transparencies
through the stereoscope, has certainly a new pleasure in store, and,

121

Digitized by

Google

when these binocular pictures are of familiar scenes, they possess an
additional interest to him. One reason why so many photographers
do so little transparency work is the supposed difficulty in making
them with any certainty of good quality, but this can soon be over-
come with a little practice. I would not by any means advocate
trying to make them from the average snap-shot negative ; but, given
a good time exposure to bring out all the detail, and carefully
developed to avoid fog, the probabilities are that you will soon suc-
ceed. It is only the perfect negative that will usually give the perfect
transparency or slide, and on this account every available means
should be taken to have the negative as perfect as possible.

It is not the intention of the writer to give full directions for
making transparencies, as such are easily found in the many good
books and magazines, but simply to give a few practical hints that
are perhaps sometimes overlooked.

In making the negative, be sure that the plate is not fogged while
placing in holder in dark-room. Give an ample exposure, and
develop to get out all detail possible, especially the half-tones and
shadows. Develop very slowly, and keep the developing dish or
tray covered as much as possible while so doing, as this prevents fog
and adds much to the brilliancy of the results.

Transparencies can either be made by contact or by reduction,
and, when properly done, the writer can see but little difference in tlie
results. While lantern slides are usually made by reduction, the
larger sizes can be made very fine by contact with much less work.
For the transparencies themselves a very slow plate is necessary, and,
while the writer has no desire to advocate any particular brand, he
has always found the Carbutt B to give excellent results. A metol
developer is particularly adapted to this work, and it is important to
carry the development far enough, as usually the image weakens
somewhat in the fixing bath. Transparencies made for the window
should be made more dense than those intended for lantern slides,
and, if ground glass is used for the former, it should be of fine
quality, as many fine transparencies are ruined by being mounted
with coarse-grained glass. A very neat and inexpensive way to
mount them for the window is to use ordinary lantern slide binding.
Then take four small brass rings, about half an inch in diameter, and
bend them to oval shape. Place these over the four corners of the
transparency, and connect them together by pieces of light brass
chain. See that the links are properly closed (using a very small
pair of round steel pliers for the purpose), and strain the chain up
tightly, so that the glasses cannot possibly slip out at the corners and
so get broken. A piece of chain of any length necessary is then fas-
tened to the two top corner rings to hang the picture by, and the
transparency is complete.

122

Digitized by

Google

Digitized by

Google

Sentimental Tommy By A. Cochrane

Digitized by

Google

DEVELOPERS

By E. O. Cockayne

DEVELOPERS are divided into two classes. Acid and
Alkaline. The former is now rarely used except for black
and white work, as silver is more easily reduced in an alka-
line than in an acid solution. Ferrous oxalate is of the acid
class. All the others, such as pyro, metol, hydrochinone,
eikonogen, amidol, glycin, rodinal, ortol, thiocarbamidol, metacarbol,
diphenal, diogen, trenol, etc., require the addition of an alkali, or are
already associated with one.

An Alkaline Developer, therefore, consists of the Developing
Ar.ENT proper, such as pyro, hydrochinone, etc., which reduces the
silver salt that has been exposed to the action of light to its metallic
form; an Alkali, such as ammonia solution, caustic soda, caustic
potash, anhydrous carbonate of soda, anhydrous carbonate of potash,
crystal carbonate of potash, crystalline carbonate of soda, or the ses-
quicarbonate of ammonia, although the last iji but rarely used ; and a
Preservative, such as sulphite of soda or metabisulphite of potash,
which has an affinity for oxygen, and thus prevents the developer
from oxidation and discoloration.

The Alkalies not only have a chemical action, but also a physical
one, softening the gelatine films, and allowing the solution to act on
all parts. If used in excess, too dense negatives will be produced,
there will be liability to cause fog and granulation ; w^hereas, if too
little is used, development will be retarded, and harsh negatives, with
too great contrast, will be the result.

The alkalies arc accelerators, the two most generally used in this
country being carbonate of soda or carbonate of potash, either in
crystals or granular, i.e., dried. The former, carbonate of soda, has
some tendency to stain the gelatine yellow, a fault from which car-
bonate of potash is free ; but, on the other hand, potash has a more
destructive action on the gelatine, and consequent tendencv to cause
" frill."

Sodium Carbonate. — One part soluble in two parts cold, or one
part hot, water. About same value in developer as sesquicarbonate
of ammonia. Five parts granular is equal to twelve parts crystals ;
7.150 parts of sodium carbonate crystals being equal to 4.350 parts
of potassium carbonate crystals.

Potassium Carbonate, Crystals. — One part soluble in three
fourths part cold, or one-half part hot, water. Five parts dried is
equal to six parts crystals.

125

Digitized by

Google

Developing Value of the Alkalies.

(From W. B. Bolton's Table, British Journal Photo, Almanac, i8pp.)

Sesquicarbonate of ammonia. 7.250 parts = i.ooo part Caustic Soda.

Carbonate of soda, crystals . . 7.150 " = **

Carbonate of potash, crystals . 4.350 ** = *'

Carbonate of potash, dried. . 3.450 '* — **

Carbonate of soda, dried. . .' . 2.650 ** = "

Caustic potash 1.400 *' = "

Caustic soda i.ooo " = *'

Ammonia, 88° sol 750? " = **

Sodium Sulphite. — One part soluble in four parts cold, or two
parts hot, water. Insoluble in alcohol. Granular is double the
strength of crystalline.

Sulphite of Sodium is added to developer to preserve it from oxi-
dation. In small quantities it produces warm tones ; in large quanti-
ties, gray or bluish black tones.

If old and oxidized (when it becomes reduced to a sulphate), it
acts as a powerful restrainer, causes yellow stains on the gelatine,
and especially in connection with amidol, appears to destroy the latent
image. (H. Hood, Br. Jour. Photo. AL, 1889, p. 767.) An addition
of 2j4 per cent, methylated alcohol retards oxidation of solution of
this salt.

With the number of developing agents now on the market, to
which new ones are constantly being added, it is a matter of consid-
erable difficulty to the average amateur or professional photographer
to decide which one is best suited to his particular requirements.
The chemistry of their composition is generally a matter of supreme
indifference to him. He may have seen splendid results produced
with any or all of them ; but how is he to decide which one is best
adapted to his own particular needs ? The professional operator can
rarely afford to experiment with new material and risk possible
failure by so doing, and is therefore likely to be almost the last to
take advantage of any new discoveries or improvements until after
they have been thoroughly tried and proved by the ambitious ama-
teur, to whom failure means experience only — time lost with him
being of no particular consequence, and as he is out for pleasure only,
a dollar more or less is of comparatively small moment. But the pro-
fessional can take no chances with his sitters, many of whom would
almost as soon visit the dentist as sit for their portraits; conse-
quently the professional generally sticks to the pyro developer, know-
ing by years of experience just what can be expected from it. The
amateur, however, takes an instinctive dislike to pyro. It is dirty
and stains his fingers, besides which it will not keep well in solution,
or perhaps is too slow to suit him. The literature on the subject of

126

Digitized by

Google

pyro developers, and how to use them, is so voluminous that it only
confuses him, and he has neither time nor inclination to try all the
different methods suggested, to overcome the disadvantages of which
he complains. Ferrous oxalate presents even greater disadvantages,
and, as it is now rarely used, we will confine ourselves to the better
known of the more recent developers, such as hydrochinone, eiko-
nogen, amidol, rodinal, metol, glycin, and ortol ; leaving the others,
such as metacarbol, thiocarbamidol, trenol, diphenal, diogen, and
pyrocatechin, to be considered at some future time, as at present it is
doubtful what position these latter are entitled to on the score of
practical use. Neither does it seem advisable to discuss combination
developers, such as eiko-hydro, metol-quinone, etc., which at best are
attempts, more or less successful, to overcome the faults inherent in
one or other of the ingredients.

In order that we may have a practical basis for comparison, we
must first determine what may constitute an ideal developer, not only
as to what it should do, but also what it should not do, and, this being
agreed upon, it will be a simple matter to determine which of those
under discussion comes nearest to meeting these requirements, or may
be best suited to any special line of work.

The Ideal Developer

should admit of extreme latitude in exposure, therefore should be
easy to control, and should work neither too quickly nor too slowly,
and either black and white, or soft, negatives should be obtainable
by its use.

It should not cause chemical fog, no matter how long the devel-
opment.

It should keep clear in solution both before and after use, and be
capable of repeated use.

It should be readily soluble, and should not lose energy at low
temperatures.

It should not stain negative or fingers.

It should not harden the gelatine, and thereby retard fixation;
neither should it soften it unduly, and cause frilling.

It should produce negatives of good printing color, and negatives
produced with it should not lose strength in fixing.

It should not be expensive in actual work.

It should require little if any caustic alkali, as this attacks both
film and fingers.

Hydrochinone, — In chemical composition, it is very similar to
pyrogallic acid, its employment in place of the latter being first sug-
gested by Capt. Abney, in 1880. (" Story of Photography," by A. T.
Story, 1898, D. Appleton & Co.)

It is somewhat slower than pyro, and yields the best results at a
temperature of 65° to 70° F., as it is practically inert at low tempera-

127

Digitized by

Google

ture, and to secure the best results must never be below 60° F. —
(Vogel.)

Hydrochinone is one of the best developing agents known, and
with ordinary care can be made to yield exquisite detail and modula-
tion if used sufficiently dilute ; or negatives with dense high lights,
and clean shadow^s suitable for half-tone work, can be made equally
readily. Greater density is possible than with either amidol or metol,
and it has little if any tendency to cause chemical fog.

It will keep well, and works even better old than fresh where very
soft negatives are wanted, but, if cold or too concentrated, causes
harshness.

Hydrochinone is listed at $3.60 a pound, and, as it can be used
and reused, is one of the least expensive developers. It does not
stain either hands or film. Plates developed with this agent must be
thoroughly washed before fixing, otherwise a deposit of metallic
silver will be precipitated on the surface of the negative, which, if not
afterward removed by reducing (with red prussiate and hypo, or
ammonium persulphate), will become yellow, and spoil its printing
quality.

Freshly mixed hydrochinone developer acts too strongly unless
bromide is freely used.

The addition of yellow prussiate of potash to the developer
accelerates development, makes clearer image, and prevents fog.
With this developer, great latitude of exposure is possible, a strong
feature in its favor.

When using with caustic potash or soda, on undertimed plates,
should the plate exhibit a tendency to frill, place it without washing
in a saturated solution of citrate of potash for five to ten minutes,
then wash and fix in usual manner.

Unless kept under control, or if used too cold, this developer has
a tendency to produce hardness, but this is rather the fault of
manipulation, than inherent in the hydrochinone itself.

The following formula is thoroughly reliable :

Xo. T . — Sulphite of soda 30 grams.

Hydrochinone 5 "

Water 250 c. c.

No. 2. — Soda carbonate 60 grams.

Water 250 c. c.

For use, mix equal parts of Nos. i and 2, adding bromide if
required.

Amidol. — Andresen, or HaufT. $10.00 a pound. Requires no
special alkali. Is excellent for snap-shots or short exposures, and
unequaled as a developer for bromide paper or lantern slides. It is
extremely rapid, gives good density and excellent detail, and has
little if any tendency to produce chemical fog. As the developer can
be kept but a short time after using, it is probably the most expensive
of all the modern developers. It stains the hands even more than

Digitized by

Google

Digitized by

Google

Digitized by

Google

pyro, and hardens the surface of the gelatine to such an extent, that
without the addition of citric acid to the developer it is hardly possi-
ble to obtain more than a surface imap^e, and a consequent loss of
gradation. From the same cause, plates developed with amidol take
a long time to fix. The following formula has l>een thoroughly tried,
and can be confidently recommended :

Sulphite of soda i>^ ounces, or 50 grams.

Potassium bromide 30 grains, *' 2 **

Citric acid (to soften the film) 15 ** ** 1 **

Water 32 ounces, '* i litre.

To every ounce of above, add 23/i grains of amidol. If it then works
too fast, dilute with water. No alkali being required, danger from
frilling is minimized. The above formula is that recommended by
Dr. O. Lohse, in the Photo-Almanac for 1893.

Eikonogen. — Andresen. Listed at $3.85 a pound. Is an excel-
lent developer for snap-shot work or plates that have received but
short exposure. Much less latitude of exposure is allowable than
with hydrochinone, and considerable practice in regard to working is
necessary to prevent flat negatives. The image appears quickly, but
only becomes vigorous after long development, potassium carbonate
being preferable to soda as an accelerator. For time exposures it is
better to use old developer rather than to rely too much on the restrain-
ing action of bromide. It does not stain, and can be used over and
over, but apparently its use is now generally confined to mixing with
hydrochinone, or some other developer. \'ogel recommends the fol-
lowing formula (for time exposures) :

Xo. I. — Sulphite of soda 100 grams.

Concentrated sulphuric acid 8 drops.

Eikonogen 25 grams.

Water i ,500 "

Xo. 2. — Soda carbonate, crystals 1 50 grams.

Water i ,000 "

For use add three parts of No. i to one part of No. 2. Add
bromide.

Story, in *' Story of Photography/* (D. Appleton & Co., 1898),
recommends citric acid in preference to bromide for preventing fog
and correcting over-exposure. (Its action is probably physical.
Citrate of potash, 10 per cent, solution, seems preferable to citric
acid.— E. O. C.)

Metol (Sulphate of Methylparamidometacresol). — Is one of the
most powerful of the recent developers, and admirably suitable for
plates that have received a minimum of exposure. It is rapid in
action, producing soft negatives with good detail, but is less suitable
for time exposures, as it is not so easily controlled as a more deliber-
ate agent, such as pyro. Its advantage over hydrochinone is due
to the fact that no caustic alkali is necessary. After use, metol devel-

129

Digitized by

Google

oper gradually assumes a brownish color, but, as it is naturally
weaker, it is then useful for over-exposed plates. As the image
loses density in fixing, it is necessary to carry development farther
than usual. This is a disadvantage, as it requires some practice to
know just how far it is necessary to carry development. It is gener-
ally advisable to use potassium bromide freely, and a few drops of a
ID per cent, solution of yellow prussiate of potash, which will, to a
great extent, prevent formation of chemical fog, which otherwise
this developer seems liable to produce on most plates.

Glycin. (Is the Hydrochloric Salt of Paraoxyphenylamidoacetic
acid.) — Is a yellowish white crystalline powder, only soluble in water
by the addition of its own weight of potash. It is very slow in action,
and like hydrochinone has a tendency to hardness if not kept under
control, but acts more like pyro than either metol or amidol. In
solution with sulphite it is colorless, and will keep indefinitely in
well-stoppered bottles, the addition of soda or potash aflFecting its
keeping qualities but very little. It is unexcelled for ortho-
chromatic photomicroscopic, and stellar photography. It is
recommended for use where plates have received a minimum of
exposure, one thousandth to one-millionth of a second. It gives,
without bromide, beautifully clear grayish black negatives of any
desired density, with exceptional freedom from fog or veiling. (Jules
Fuerst, " Process Year Book," 1897, and ** Story of Photography,"
by A. T. Story.) Bromide acts as a restrainer.

Concentrated Developer.
Sulphite of soda 25 grams.

Dissolved in :
Water 40 c. c

To which are added :

Glycin 10 grams.

Potassium carbonate 50 "

For use dilute 15 or 20 times.

More sulphite will improve keeping quality, but is uimecessary
and only retards development.

Development. — {Jules Fuerst. )

A. — Sulphite soda, crystals 125 grams 625 grains.

Potassium carbonate 50 *' ^. 250 **

Glycin 50 " 250 "

Hot water 1000 c. c 10 ounces.

B. — Potassium carbonate 125 grams 625 grains.

Water 1000 c. c to ounces.

C. — Sulphite soda, crystals 125 grams.

I'otassium car))onate 250

Glycin 50

Hot water 1000 c. c.

C* is a concentrated one-solution developer.

130

Digitized by

Google

For normal exposure, take i part A, 2 parts B, and i part water,
or I part C diluted with 3 times its bulk of water, or i to 6 for under-
exposure. For over-exposure, 3 parts A, 2 parts B, and 3 parts
water. This increases the amount of glycin, and decreases that of
the alkali, although generally the addition of bromide and dilution of
the developer with water are all that is necessary.

For under-exposure, developer should be freely diluted to give
time for developer to act on slightest light impressions without
" plugging " high lights.

For unknown exposures, take 1 part B, 2 parts A, and 2 parts
water, to which add 15 drops bromide solution, 10 per cent. If the
details appear in less than thirty seconds, the plate is over-exposed.
Any tendency to harshness must be remedied by addition of more
potash and further dilution.

Stand Development.

Glycin 2 parts, or 10 grains.

Sulphite soda, crystals 2 ** ** 10 "

Potassium carbonate 10 " "50 "

Hot water 100 ** " i ounce.

When all has been dissolved, add :

Water 900 parts, or 9 ounces.

A normally exposed plate will take about a half-hour to develop,
where an under-exposed one will take from one to three hours.
No clearing bath is necessary with Glycin.

The foregoing suggests a method by which practical bases of com-
parison can be arrived at. The data concerning the various devel-
opers have been obtained from the manufacturers' prospectuses, and
the publications of such authorities as Prof. Husnik, Dr. Eder,
Prof. Vogel, etc., and may therefore be considered thoroughly
reliable.

THE CAMERA A COLLECTOR OF DATA

By E. G. Tabor

{lilustratioHs bv the Author)

IN an article in Vol. X of the International Annual I
attempted to convince collectors, of the usefulness of cameras in
field collecting. Since that time a work written by R. Kearton,
F.Z.S., of England, has come to the hands of some of the col-
lectors, and the illustrations it contains show that the camera
is a collector of certain data, of which, for exactness, amount, and
comprehensiveness, the ordinary written data come far short.

131

Digitized by

Google

Data of to-day are of two kinds, viz., written and illustrated.
The written data are records, and give the date of collection, where
collected, name and sex of the specimen, and perhaps brief remarks
on capture or identification of same. Illustrated data are photo-
graphs, and show the live specimens in nature's haunts, surrounded
by their natural environments, and you learn from them either
natural attitudes, how or where their homes are constructed, or
manner of feeding, any or all of which is of fully as much import-
ance scientifically, and of just as much interest to the casual observer.

In making my illustrated data, I use a reversible back, long focus

No. I

5x7 Premo Camera. The long focus is a necessity, and the rever-
sible back a convenient attachment to your camera for this kind of
work, r^orty feet of small rubber tubing, with a bulb large enough
to work the same, is another necessity not commonly attached to
a camera. Of course, this will only be used occasionally, but, if you
are a field collector, it will not be a very great while before you will
find a chance to use it to advantage. The illustrations reproduced
with this article required the use of the first and last of the extras
above mentioned.

132

Digitized by

Google

Illustration No. i is of a female Least Bittern in the act of
leaving her nest. It was taken from the bow of a rowhoat, with
diaphragm closed to F 16. and an instantaneous exposure with
speed at one twenty-fifth second. It is one of the best photographs
of a wild bird I have ever succeeded in making.

Xo. 2 is of two young of the Loggerhead Shrike, just on the
point of leaving the nest, three others having already left it. Of
course, young birds are easier to photograph than mature birds, as
they will allow you to approach quite closely before taking wing.
L^nless you are using a telephoto lens, you will have to get to within

■

■ y -

No. 2

from three to five feet to get a picture of the smaller birds that will
be large enough to give you any idea of their form or appearance.

No. 3 is of a Monarch Butterfly, feeding on the sweets of a
clover blossom, and was made as follows : The camera was focused
on this bunch of clover, and I waited until the butterfly came and
alighted thereon, when an exposure with F 16 and one-fifth second
was made.

These are but three of the two hundred and over that I have
taken in the last three years; but I trust, dear reader, that they

133

Digitized by

Google

will convince you that the camera is a collector of data that an
ordinary field collector makes no note of, and that would otherwise

be lost, which would be lamentable when we consider the time and
money spent each year in the collection of specimens and their data.

PICTORIAL VALUES

By W. M. Stine

CI.-OSELY drawn definitions are apt to savor of pedantry,
but a term which may have developed a very precise
meaning at one period, when in the progress of time and
development it is used for something only vaguely
resembling the original, becomes so alien to the descrip-
tion of the thing with which it is associated that its use is always

134

Digitized by

Google

erroneous. Thus, a photograph can never in reality be a picture.
Certainly, photographs, by the sanction of custom, are continually
called pictures, and will so continue to be named. We have no
quarrel with this use of the word, and shall enter no protest against
it. It merely challenges us to draw distinctions.

A photograph is a product accomplished wholly by mechanical
means, of which the lens, glass plate, and all the other connected
objects are clearly recognized as agents. But the vital agent in the
mechanics of the photograph is the light ray. All these instruments
and agents are capable of being directed by the photographer, but
they are in all respects objective, in that they are apart from himself,
and in their operation they can accomplish only a reproduction.

Scene in Sullivan County, M. V.

By H^illiam Bayler

Our word " picture ** is derived primarily from a Latin word
meaning a painting. To some people, a painter is a clever, imitative
individual, quick to perceive details of form and gradations of light
and color, and a painting is to them the work of a painter, or a mere
attempt at a reproduction of what the painter has seen ; and, with a
full appreciation of the short-comings of human nature, they realize
that the painting is defective as an attempted reproduction of what
the painter has seen. Such people, supposedly of a very practical
caste, themselves see things just as they are and want them repro-
duced with the utmost precision, and consider a camera with a lens
apparently free from aberration as eminently superior to any painter.
Such people grow ecstatic as they view a photograph of the tree in

135

Digitized by

Google

their own yard through a magnifying glass, and recognize the very
leaf they have known so well that season.

Comparing the processes of painting and photography : The
photographer arranges instrumentalities, and results are accom-
plished by means of the light rays and chemical affinity, wholly apart
from himself. Aside from mere executive skill, a photograph shows
nothing of the photographer, and this is said with the full apprecia-
tion of the artistic value of grouping and arrangement. The thing
painted must always pass through the mental laboratorium of the
painter, and to a greater or less extent partakes of the individuality
of the artist. It is thus easily seen that no artist can reproduce pre-
cisely, and no photographer can fail to do this.

Which is the superior process, painting or photography? This
is not the issue we desire to raise. It is not the superiority of one
process over the other, but the distinction between them that is here
desired.

A painting is the means of expressing what is in the mind of the
painter, and its style is always characterized more or less by his
peculiarities. The painter who attempts to delineate a hand, for
example, and endeavors to copy a model accurately, or to make an
absolutely truthful copy of a tree, is in error. He is losing time and
failing of the accomplishment of his endeavor. He should use a
camera.

Another thing, nature is never systematically nor consistently
beautiful, and invariably falls short of ideal perfection. So the
painter, working from the impressions of the most beautiful parts
of many trees, paints an ideally beautiful tree; and in this way he
should always idealize and never copy. Pictures thus come from the
mind of the artist, and exhibit a completed thought.

The drift of these reflections is apparent, and applies to the
attempted artistic use of the camera. Suppose, for example, that the
camera user has devloped an ideal landscape in his imagination —
rolling hills, partly cultivated, with background of wooded slopes.
For giving life to the scene, there should be certain figures who have
some relation to the scenery, engaged in some occupation in the
fields. The costumes and attitudes of the people should be con-
sistent with their surroundings, and the whole scene should have an
artistic unity. Were he an artist, he would create this scene with
brush and colors ; but, armed with the camera, he must be content to
reproduce and patiently search out the original which most nearly
conforms to his ideal. Then he must exercise further patience and
judgment in selecting the proper moment for making the negative,
when the lighting is correct and the figures are in happy attitudes.
In short, unable to modify nature, the camera user must possess a
keen appreciation of pictorial values.

The accompanying scene from Sullivan County, New York, is
an admirable illustration of our thesis. Here is such a landscape as
an artist would employ. The leading idea centres in the life group,

136

Digitized by

Google

Engraved by
Beck Engraving Co.,
Philadelphia

By F. L. Fieger

FALLING WATER

Digitized by

Google

Digitized by

Google

and they arc in complete artistic unity with their surroundings. The
camera in this case has most clearly approached the function of the
artist.

But it fails where all artistic attempts with the camera must fail.
Tt is reproduction, and is not a happy blending of artistic excellences.
While the oxen could scarcely form a finer study of the brute life, the
chain trace from the yoke is in a bad position, as well as the harness
to which it is attached. The gear is in bad adjustment, and the
horizontally tense chain is like a geometrical line bisecting the beast.
Pass a plane through the rim of each hat, the man on the wagon, and
the boy in the foreground, and they are parallel with one another,
and the chain just discussed. All are in geometrically excellent rela-
tions ; but as this is meaningless in the life of the ox and the man, it
is purposeless and inartistic. The attitude of the little girl could
scarcely be improved. Taken as a w^hole, it is a beautiful and
touching scene, and shows keen artistic appreciation on the part of
the photographer, whose courtesy in permitting the use of the print
the writer desires to acknowledge.

THE BEST PLATINUM PROCESS

By J. Joe
( Translated by Henry Dietrich )

THE well-known excellent results obtained in the platinum
process elevate it to one of the most eminent and
artistic photographic printing processes. Still, it is surpris-
ing that just this process meets with so little consideration,
and the question naturally arises. What is the cause of it ?
The answer might be that the technical part of the process is not
sufficiently known. Platinum paper is relatively dear, and requires
an extremely careful storage and treatment, if faultless results are to
be obtained. For this reason, and with regard to the negatives to be
applied, many have made their own paper. Many defects can be
avoided by so doing, but the question arises at the same time, How
shall I prepare the paper, and which platinum process shall I use ?

The cold process, which furnishes very good results, predomi-
nates, as a rule, to-day ; but with regard to the durability of the paper,
particularly in southern climates, and to the brilliancy of the print, it
is surpassed by another process, the one with platinum in the devel-
oper. This process on account of its advantages may be designated
unconditionally as '* the best." The production and the treatment of
the paper are very simple, and can be executed in the following
manner :

137

Digitized by

Google

The plain paper should not contain glue or gelatine in its manu-
facture, hut resin, hecause the animal glue acts too much upon the
tone of the picture. The necessary preliminary preparation is done
with boiled arrowroot. The paper should be coated uniformly, but
thinly, as otherwise the picture will float off during development.

The sensitized solution for medium dense negatives consists of :

A. — Oxalate of iron 20 grams or 300 grains.

Oxalic acid 2 " "30

Oxalate of lead . . ; i " "15

Water 100 c. c. " 3.3 ounces.

B. — Bichloride of mercury 5 grams " 75 grains.

Water 100 c. c. '* 3.3 ounces.

Mix 25 parts A with i part B.

The coating of the solution is done with a soft, flat brush without
metal mounting, running the brush first lengthwise of the paper, and
then in an opposite direction. The drying should be done without any
artificial heat. To facilitate the coating, the solution may be diluted
with water. The printing is done best in a well-diffused light, and
the originating iron picture is very clearly visible, and better than
in any other platinum process. Particular care against moisture of
atmosphere is not necessary, as even the printing can be done on moist
paper.

The prints may be developed at once or in a few days. The
developing can be done with the ordinary oxalate solution, i : 3, and
platinum addition, as also with the oxalate phosphate developer.

In the latter case, take 20 c. c. of developer consisting of,

Oxalate of potassium 100 parts

Phosphate of potassium 50 "

Water 1000 "

and add 2 c. c. of a solution of i gram of potassium chloride of plati-
num in 6 c. c. of water. This mixture is sufficient for a sheet 50x60
cm. ( 19x24 in) . The development is done by floating, or by applying
the developer with a brush. In the latter case, 5 c. c. of glycerine is
added. Fixing of the picture is done as usual, in water acidified with
muriatic acid. The pictures, after drying, are extremely brilliant and
clear.

lyaiting for the Starting Gun By Geo. D. Pratt

138

Digitized by

Google

ODDS AND ENDS

By R. a. R. Bennett, M. A. (Oxox)
(Thirteen years Secretary of the English "Postal Photographic Chih **)

TEiE Carbon Process.

BEGINNERS in the carbon process often find a difficulty in
successfully manipulating the *' safe edge " which is
required to enable the print to peel oiT the material acting as
temporary support in the double transfer process. There
are two methods usually employed : One is to paint aroun<l
the edge of the negative on the film side or glass side with some
black opaque varnish, which prevents the light from acting round the
edge of the paper. The other is to do the same thing by means of
slips of opaque paper, e.g., lan-
tern-slide binding strips. Neither
process is wholly satisfactory,
since the varnish cannot be got
off the film side easily when not
wanted, and the paper rarely
sticks well enough, coming off
in patches, which makes the mask
uneven. The method I have to
suggest is the employment of
separate pieces of glassy-old
negative glasses will do — on
which black paper is stuck
around the edges. These are
then used as masks to place in
front of the negative to be
printed, the paper next the glass
side of the negative in the print-
ing frame. This can be re-
moved instantly, and in no way
interferes with any negative
when wanted for ordinary print-
ing — gelatino - chloride paper,
etc. Clouds can also be easily
printed into a landscape by this
means, putting the glass pro-
vided with the mask in exactly

7^3' P. M. Ingalls

the same place, the cloud negative being substituted for the other,
and the landscape shaded during the printing in the usual way. If
this is done carefully, there will be no sign of any juncture in the
resulting picture.

Another difficulty is the preparation of the substance acting as a

139

Digitized by

Google

film of collodion, by painting it on, or j)ouring over it a solution of
collodion in ether. There are several objections to this process, the
collodion in ether. There are several objections to this process, the
film of collodion being easily damaged. I find that the following
answers well : Take a wide-mouthed bottle and put into it a small
quantity of white wax. Pour over this a small quantity of turpentine.
Leave it to digest for some time, and put the bottle in a warm place ;
for instance, before a fire. Shake till entirely dissolved. When cold
again, it ought to be a clear white ix^made. Xow, with this pomade
you can anoint the surface of the opal or other temporary support,
putting on a fair quantity, leaving it to dry, and then wiping off any
excess with a cloth or flannel. I'he carljon prints will peel oflF this
with great ease, leaving a good matt surface, if ground opal is
employed.

Enlarc.inc;.

Many workers find it a difficulty to keep the paper perfectly
flat. If pinned down, it curls at the edges. If fixed in a framework,
at the edges, it rises in the middle and the picture is out of focus at
that part. My plan is to use an additional sheet of perfectly clean
glass in front of the paper. This keeps it absolutely flat. It can be
supported on an easel by a framework, or pins at the sides and bottom
for it to rest upon, or in the usual double back of an enlarging cam-
era. In the latter case the paper goes between the ground glass and
the extra sheet, with its film side, of course, toward the latter, and is
placed there after focusing has been accomplished. The exact place
for it can be fixed by means of strips of white paper fastened around
the required space, in which space the amount of the picture required
to be enlarged is made to fall.

Dark-Room Lamp.

Many amateurs who get pale, flat negatives with films where no
portion is clear, wonder why their plates or camera do not give such
iDright pictures as those of other workers, when they ought to put the
blame upon the developing lamp, which is the cause of their trouble.
For the light itself, either a gas-burner or an oil-lamp that will turn
up and down from the outside is the best thing, failing, of course,
electricity. I recommend that the front pane of the lamp should be
a good-sized one, and have two panes of ruby glass, one inside the
other, with a space of about one-sixteenth of an inch between them.
When very sensitive plates are being developed, a piece of ruby
fabric can be slipped between the panes, which may be removed when
developing bromide paper, etc. In this way you can get a good light
and perfectly safe. A lamp with all four sides of glass is much the
best, as it gives a good light all over the room and not only on the
plate. A shade of cardboard fixed by wire over the front of the lamp,
so that it can be easily lifted ofif when not required, is a great saving
to the eyes, for much staring at the red light must be more or less
injurious.

140

Digitized by

Google

•^

-w^

Engraved hy
J. Manz & Co..
Chicago

By Emanuel Tanenbaum

A PORTRAIT STUDY

Digitized by

Google

Digitized by

Google

ISOCilROMATlC PlATKS.

Those who wish to use these with a yellow screen can fit one to
their camera with the greatest ease by simply making a circular rim
of cardboard just the size to slip inside the lens hood. On the edge of
this can be fixed (by means of marine glue or other cement) a circle
of the yellow glass required. This can be easily slipped out when re-
quired, and when in it does not interfere with the action of the cap
outside the lens hood, or the use of a shutter.

Rolled- UP Prints.

When prints on gelatino-chloride or albumenized paper are dried
by being squeegeed in contact with ferrotype plate or matt surfaced
opal plates, I find it pays best to pull them oflf gently (beginning at
one corner and stopping at once if the print shows signs of not being
perfectly dry),
as, if left to fall
off of them-
selves they will
roll up, whereas
if pulled oflf they
lie perfectly flat
afterward. This
curling up is
one of the great-
est worries that
the amateur pho-
tographer comes
across, as it ne-
cessitates all his
prints being

unrolled every ,^, ^, «^^..^.

time he wishes * Southern Ford By S. Orlando Trtppc

to find one, and spoils them for insertion in the " slip-in " type of
album or mount. Such rolled-up prints can be straightened in the
following way:

Take two large pieces of blotting-paper and lay them flat on a
table. We also require a flat-edged ruler or paper-knife. Put each
print face downward on the blotting-paper, and rub from the centre
to the end with the edge of the ruler or paper-knife, using an even
but firm pressure. As you pass the paper-knife along from centre to
edge, pull up the other end in a vertical direction. When this has
been done from the centre to one edge two or three times, turn the
print round and do the same from the centre to the other edge. Take
care, of course, not to pull up the print so violently at the end not
being pressed as to split it. After a few^ turns of this treatment you
will find the print lies quite flat, and it will not l)e likely to curl again
in the course of its subsequent career.

141

^kj,,.^

"■;" ; . -

r-r --''^

.-;.7^ '^

Digitized by

Google

THE WASH-BOX

By O. G. Masox

THE subject of this short paper may have become rather a
worn one. I am. quite sure that many boxes have been
completely worn out in my own practice, until I have con-
cluded that the old saying of our English friends about
being '* penny wise and pound foolish " might well be
applied, in a somewhat modified form, to the photographer who
seeks to save money by using cheap wash-boxes for his negative
work.

Of all items of foolish expenditure for photographic apparatus
for constant use I would place the wash-box made of sheet zinc at the
head. If I had more thoroughly studied the chemistry of zinc, and
its weakness in resisting the attacks of the very weak sulphuric acid
which reaches such a box from the hyposulphite fixing-bath, either
for plates or prints, the manufacturers of zinc wash-boxes would
many years ago have had one customer less. To put the whole
matter in a few words, zinc is oxidized by water, and oxide of zinc
is soluble in hyposulphite of soda. The weak remains of the fixing-
l)ath eat up the apparatus made of zinc.

After furnishing a large quantity of such food in my chemical
room, I decided upon a change. The accompanying illustrations
show the form in which it was accomplished. The material used is
sheet copper, about one thirty-second inch thick, or 26 gauge. Of
course, the box may be made of such form and size as may be best
suited to the user's purpose. The one which I use most frequently
is made to take 14x18 plates, and all smaller sizes fitting the various
racks used in it. These racks may be made of wood, copper wire,
or other chosen material.

To meet the requirements of the
various advocates as to the proper
direction of the inflow and outflow of
the washing water, the construction is
such that the current may be directed
in several ways at the same time, or in
one of several.

Fig. 1 shows the entrance pipe

^^^^^^^ at the left-hand upper corner. This

I ^^^^^HtS' ^titside pipe connects with a vertical

4w^ ^^^^^^1j^' inside pipe, which delivers the water

^^' ^^^^^■Hl near the bottom of the box, and its

exit is from the pipe at or near the
corner of top diagonally opposite from
the inflow.

142

Fig. I

Digitized by

Google

Fig. 2 shows entrance at right-hand
upper corner, while discharge may be
at left-hand lower corner, or by adjust-
ing stop-cock a part may be discharged
at left-hand upper corner.

Fig. 3 shows entrance at left lower or
upper corner, and discharge at either
upper corner, by turning down swivel
joint at upper left corner. The inflow
and outflow are under easy control by
stop-cocks, and pipes are provided with
taper nozzles suitable for rubber hose.

Fig. 4 shows the interior shaped ribs,
which prevent bulging of the box from
pressure of water when it is full. In

Fig. 2

order to make the form of these strengthening ribs more distinct in
the cut, I covered them with w^hite cardboard, which gives them the
appearance of being about four times larger than they really are.

After two years' use my cop-
per wash-box is as true in form as

when new, and shows no sign of erosion. A heavy copper wire is
inclosed in the sheet-metal arond the outside top edge of the box.

To my brother workers I would say, Get a copper wash-box, and
be happy!

A LOST OPPORTUNITY

By James R. Carrinc.ton

{Illustration by the Author)

THIS is a word or so about the photographs 1 didn't get and
the cameras that are no more, and incidentally a true stor\
of the adventure of a seeker after the picturesque. With
rest as a first consideration, and the tonic effect of a voyage
on blue water as a prescription, we embarked for the far
shores of Newfoundland. The sailing time, with a day's stop in

143

Digitized by

Google

Halifax to get acquainted with Tommy Atkins, covered about a
week each way, and our intentions were to pass the greater part of
that time on the rug-covered laps of our steamer-chairs. No man,
woman, or child who has ever meddled with even a press-the-button
picture-taker, or breathed the air of an oil-befouled bathroom
dark-room in developing, could have failed to anticipate the possi-
bilities that such a trip offered.

Life on the ocean wave, the ship and her crew, bits of character,
heaving the lead — and whatever else might come up — whales,
schools of porpoises, passing vessels, and what not, were visions that
our minds dwelt upon. We should get something different. (Jur
equipment consisted of one 4x5 long- focus Premo, with a tried and
never- found-wanting Goerz lens ; a 4 x 5 Telephoto-Cyclo-Poco ; and
a 3/4 X 3>^ Kodak, just for fun and those pictures that had to l>e
taken while the other fellow was busy. In the trunk that was in
the hold were a gross of Ortho plates and a supply of films. We

were prepared to take everything in
sight, and a few others that " never
were on land or sea." Icebergs were
to be our special joy.

I never like to hurry, so we
boarded the ship promptly a couple of
hours before she left her dock in
Brooklyn, and listened to the Wag-
nerian variations of the steam winches
that were hustling in cargo, and
smelled the smells that hover about
the average city dock. Our steamer-
chairs were located, and in our hearts
In the Fog ^^^^ ^^^ i^y ^^ freedom that comes to

most of us for two or three weeks out
of fifty-tvo. As the tug pulled us out into the stream, the sun was
sliding down behind the towers that break the sky over lower New
York, and the sweeping web of the bridge hung a black shadow-
above us. It was too dark for a snap-shot, and the color, too, made
one feel the uselessness of the camera for such a scene.

Out through the curving lane of shining, jumping water we went,
through Hell Gate, where we barely missed the rocks that lead
below, into the beautiful Sound. It did seem such a good thing!
And we turned in that night content, our only uneasiness a doubt as
to the honorable intentions of our stomachs when the ship began to
roll. Day came early — it does when you get up to meet it — and we
were on deck. I was, rather. She preferred to seek the seclu-
sion of the stateroom until we passed Gay Head into Vineyard
Sound.

Sunday was all right. Monday we ran into fog, and all day
long, at regular intervals of fifty-five seconds, the automatic electric
whistle blower kept up its dismal noise. We could not entirely rid

Digitized by

Google

Digitized by

Google

Digitized by

Google

our minds of the fact that fog is a dangerous proposition ; but no
one said a word. In the afternoon, some young chaps who had but
recently recovered their sea-legs went forward with their banjos and
had some fun. One of the songs, I recalled later, invited the cap-
tain to stop the ship and let the invalids ashore.

Tea came at six o'clock, and as I went below I noticed that the fog
had thickened. We came on deck at half-past six. I had just
wrapped up my chum in her rugs and lit my pipe, when, with a bump
that nearly knocked me off my pins, followed by a grinding and
racking sound there was no mistaking, we stopped. We were in the
small boats in fifteen minutes, and in twenty-five the Portia was
registered in Davy Jones's locker, thirteen fathoms down. Big
Fish Shoal had scored another victim.

How w^e pulled blindly around in the fog, finally heard the
breakers on the rocky shore, and spent the night, is '* another story.'*
The next day every one said we ought to be thankful that we escaped
with our lives. We were ; but I could not get over the facts that my
cameras were gone — my clothes were an after thought — and that
Newfoundland was still ahead. We went there, however, and I am
going again some day, up by steamer, and back as far as Halifax
by train. The railroad that has but recently been completed across
Newfoundland runs through a practically unbroken wilderness,
the ideal happy hunting ground of the sportsman with camera, rod,
or gun. There are streams and lakes on all sides full of trout and
salmon, and caribou come to the slaughter in pitiful numbers. Do
your shooting with a camera. You will find your time fully occupied
w ith scenery that words can only belittle.

THE RANGE OF TRIPLE MID-AIR KITE
PHOTOGRAPHY

By William A. Eddy

WHEN three cameras supported by a whirling platform
were sent aloft by me on May 30, 1899, making
probably the first triple kite photographs ever taken
in the world, I found that, while the cameras had a
vvide-angle lens to the extent of covering a radiation
of twxnty-five degrees of the horizon, the variation in the wind
direction, which carried the kites to the right and left for about one-
third of a circle, caused more than half a circle to be covered by the
three cameras.

The three photographs herewith were taken by camera No. i of
the three cameras which were pointed from a platform shaped like
half a circle. Cameras No. 3 and No. 2 were respectively pointed

145

Digitized by

Google

Bergen Point, N. J., Kill von Kull, Staten Island

Kill von Kull and Staten Island

to the right and
left. Seven as-
censions were
made to a height
of one or two
hnndred feet,
and not exceed-
ing three hun-
dred feet. The
positions of none
of the cameras
were changed,
the different pic
tures taken by
camera No. i
being due to the
varying posi-
tions of the
kites. The kite
cable supporting
the three cam-
eras veered
a!)out one-quar-
ter of a circle,
now flying to-
ward the north-
east and then
again toward
the southeast.
It is, therefore,
clear that three
cameras should
be radiated as
much as possi-
ble, because the
swinging of the
kites will more
than fill in the
ground not cov-
ered, especially
during the ap-
.proach of very;
distant storms,
which cause the
kites to veer
rapidly from
right to left.
I think the

146

Digitized by

Google

danger of fog-
ged films can be
obviated while
pointing toward
the sun by rang-
ing downward
steeply, and
largely cutting
out the sky, by
so aiming the
camera that the
horizon line is
like that in the
one taken with
the camera
swinging just
above the tree-
tops.

I find, in
snapping three
cameras from
the kite cable
aloft, that it is
very difficult to
snap them at the
same instant,

and that at present the rapid swinging of the kites prevents the
continuity of the picture. I shall devise a more delicate apparatus,
in which the shutters are operated by electric wires supported by
very large kites.

The camera with the swinging lens — the Al Vista Camera —
takes very nearly a half-circle at one snap ; but I think that the use
of three cameras will include even more horizon line, owing to the
veering of the kites, while four cameras would take the entire
horizon line with great variety.

As for the cameras, any good wide-angle lens camera, with a
focus set beyond one hundred feet, would do good work. Special
care in photographing the entire circle of the horizon must be taken
to avoid fogging the films on the side toward the sun, as above
mentioned. The reader is asked to make due allowance for these
difficulties, in judging the photographs herewith.

Tree Tops of Bergen Point, N. J.
Constable Hook in Background

Digitized by

Google

CHARLES READE'S BIRTHPLACE

By S. E. Kelf

{Illustrations by the Author)

OXE of the curious developments of latter-clay civilization,
and perhaps rightly so, is, that eminent men who have
passed away should have their birthplace regarded with
a kind of veneration, and looked upon as a sort of shrine.
Jf they had lived at the dwelling beyond their childhood,
it must need add interest to the surroundings. So it must be in the
matter of Charles Reade. The old manor-house at Ipsden, where he
first saw the light, and the villages adjacent, give one a greater
insight into the books written by the author of " Never Too Late to
Mend." This residence came into the possession of the Reade family

exactly three
hundred and
sixty years ago
(1539). There
is nothing re-
markably strik-
ing in its ex-
terior. Most of
the ancient parts
are completely
hidden by the
newer portions.
Yet it is sub-
stantially as it
was when the
novelist came
into the world.
L'nder its roof
he did a great
deal of the writ-
ing when on
good terms with
his family. At
other times he
migrated to his
college rooms at
Oxford (being
a fellow of
Magdalen), or
sought other

Manor House, Ipsden, Oxen

148

Digitized by

Google

places in the neighbor-
hood, or in London. At
one period of his Hfe he
was hoping to discover
the secrets of the old
Masters of '* Cremona ''
fiddle fame. On this he
must have spent a small
fortune. ()ne of the
windows to the right,
overlooking the grounds,
used to reek in varnish
which was used in ex-
periments in that direc-
tion. This dripping var-
nish from the newly
made imitation ** Cre-
monas " on to the lawn,
and other matters,
caused an estrangement
with his father, the
Squire. Attached to
the older portion of the
house is a fine old well,
with a donkey- wheel,
somewhat similar to that in Caresbrook Castle, Isle of Wight. There
is also a remakably handsome staircase leading to the older portion
of the tnanor-house. The photograph that accompanies this article
somewhat dwarfs the magnitude of the building.

Another interesting building is the round dove-cote, or pigeon -
house, which is situated in one corner of the ground. It is verv old,
and bears initials of the Reade family— C. R., M. R., T. R., I. R.,
1763. From the photograph some idea of this pretty little building
can be gained. The writer tinderstands that there is a clause in the
lease that the present tenant has to keep a large quantity of pigeons ;
and as a matter of fact, abotit two hundred are kept, so that they
shall not diminish below the minimum ntimber. There is also a
large fir tree covered with ivy on the lawn, which was planted by
Charles Reade's mother on her wedding-day. The place is at a
lofty spot, in the southern portion of the county of Oxford some five
miles from a railway station. Of all these years, it is only within the
last few of the three hundred and sixty spoken of that the place has
passefl out of the occupation of the Reade family. The present
occiq)iers, however, are proud of its associations.

Round Dove Cote, Manor House, I^sdcn, Oxen

149

Digitized by

Google

HALATION

Ky J. H.Harvey

NOTWITHSTANDING all that has been written and
spoken during the last few years concerning Halation and
the necessity for backing plates for all kinds of work, the
number of backed plates used is still exceedingly small
compared with the total plates exposed. In spite of the
placing of ready backed plates upon the market at the same price as
the unbacked plates, there are yet users who adhere to the old style,
giving as excuses for their ignorance (or laziness) the facts that the
backing material is difficult to remove, that it slows the plates, and is,
after all, of doubtful value. If these wiseacres would only take the
trouble to put backed and unbacked plates from the same batch to a
fair test, I am of bpinion that they would speedily become converted,
especially if they chanced to use as their test plates some of the more

thinly coated commer-
cial productions, for
it is worthy of note
that the good effect of
backing is not so
plainly marked in the
case of some plates as
in others.

There are plates
on the market on
which it is scarcely
possible to get a clean
image if the exposure
has been prolonged
the smallest amount
beyond what the full
strength of the devel-
oper requires, where-
as these same plates
will work perfectly
with long exposures
when backed. The
assertion that backing
slows the plates is to a
certain extent justi-
fied. Backing gives a
cleaner image, and, as
there is no light re-
flected from the pos-
By E. B. Core terior surface of the

150

Digitized by

Google

glass, the image is not re-enforced by receiving, in addition to the
light impinging on it plus that passing through it, such as is reflected
from the back surface. The latter is absorbed by the backing, and
is, therefore, lost, instead of being allowed to scatter itself in all
directions, and thus apparently quickening the plate at the expense
of the quality of the negative.

Admitting that, in some instances, for the sake of producing a
pictorial photograph, it is considered advisable to have the wooliness
and apparent fogging and running together of details which char-
acterize a thinly coated plate, it cannot be denied that in the majority
of cases a result of an entirely different nature is sought, and this can
only be obtained with certainty by the use of a properly backed plate,
unless multiple coated plates are used. As was previously remarked,
some plates appear to be less in need of backing than others; but
that all plates are the better for it, and will yield negatives of a
superior character when backed, is doubted by none who have studied
the matter and used plates under all conditions.

Let any person expose a plate for a given time on a landscape
which has trees showing against the sky, especially should the said
trees have shed their leaves, and then expose a second plate from the
same packet upon the same subject for a similar time, one of these
plates to be backed, and the other to be put in the dark slide, in the
same condition as when purchased. After the resulting negatives
have been fixed, examine them carefully, and note particularly the
diflference between the two renderings of the finer branches and twigs
against the sky. In some brands of plates it will be found most
marked. With such unbacked plates, where thick foliage comes
against the sky, the upper edges of the foliage will all appear more
or less veiled, the veil diminishing as the distance from the sky-line
increases ; whereas, on the plate which has been coated with a good
effective backing, the line will be as sharply defined as it is in nature,
and the whole of the detail in the negative will be much brighter.

Where commercially backed plates are unobtainable, they can be
prepared without much trouble. Numerous formulas are given in
the different Annuals for past years, and most of these will be found
effective in all except perhaps the most desperate cases. The opera-
tion of backing, I can say from some years of practical experience,
so far from being a messy or troublesome one, is simple, and, when
properly conducted, there is no need for it to be productive of any
mess. A dozen plates may be backed in a few minutes and stood in
the rack in a dark cupboard for drying, which will take only an hour
or two in ordinary weather.

The removal of any of the backings that are soluble in water is
simple and expeditious, a wet sponge passed over the back of the
plate being sufficient to move it, when it can easily be washed oflF.

When these points are properly grasped by photographers, backed
plates, instead of being the exception, will become the rule among
those who are anxious to produce the best work.

151

Digitized by

Google

CAMP CAMERA

By Maximilian Tocii

{Illustrations by the Author)

FOR three summers a unique camp has been quartered
at Lake Mahopac, and the title of this article was the
name of the camp. Originally there were three of us,
but after a year the party increased, and the experiences of
each year were profited by, so that our last camp was almost
perfect.

The main features of the camp were the arrangements for photo-
graphing and developing. We had a dark-room tent, which was so

constructed that
it was " pitch
black " at mid-
day when the
sun shone down
upon it. It was
made of a heavy
grade of duU
black oilcloth,
with the black
side inside, and
the flaps fitted
so perfectly that
no light ever
leaked through.
We only devel-
oped at night,
however, be-
cause we could

tlien leave the flaps open and get air; and whenever we had to
change plates during the day, the intense heat and the darkness
v/ere often characterized as being hotter than — ^a baker's oven.

The sports of the camp were fishing and photography, and we
had all the opportunity for doing both. The evenings were enjoy-
able, because we did not do what other campers did — go to bed at
dark — but we had plates to develop, and prints to make, which fre-
juently kept us up late.

We had plenty of company, and when it rained, which it did
frequently, we fished or photographed just the same, for the
reason that the camp was well drained and the apparatus was
ander cover.

We had all the pleasures of camping, with none of its discomforts,

152

Camp Camera

Digitized by

Google

Engraved by
Illinois Engraving Co.,
Chicago THE COQUETTE

By Pack Bros

Digitized by

Google

Digitized by

Google

as we had a cook and a boy to do the chores. Once a day one
of us rowed to town to buy fresh meat, and the neighboring farmers

Dog Talk

suppHed us with vegetables. At one meal each day we had fresli
fish, and sometimes twice each day.

When the camp broke up, we each had a fine lot of pictures, and
in the fall we exchanged views. The pleasant recollections of our

Wf'^K,

iHitJ- iH

Su/ycrintciiding Dinner

summer's sport make us look forward to the next year with the long-
ing of the schoolboy for vacation days.

153

Digitized by

Google

A METHOD OF PLUMBING THE FOCUSING-SCREEN

By C. W. Canfield

THE practitioner of architectural photography finds much
to contend with in the matter of getting true vertical lines.
Even supposing the lens is really rectilinear, the irregu-
larities of the ground where he is forced to perch his tripod,
and the exigencies of raised fronts and tilted backs, are
very demoralizing to the ordinary camera, as the results often show.
A simple device, which does not depend on the relation of the bed

to the rest of the camera, was
recently called to my attention by
Mr. C. M. Darling, and seems to
be worth recording.

It is merely the application to
the focusing-screen of an ordinary
cabinet-maker's " try-square," with
metal blade and wood arm, and a
small spirit-level. The metal blade
is held against the focusing-screen.
and the level placed on the upper
edge of the arm. The verticality
of the screen is then indicated by
the bubble.

In the case of copying large
drawings that are at an angle, the parallelism of the screen with the
plane of the object can be secured by using a ** bevel " or adjustable
square ; but the usual precaution should be taken of measuring with
a cord from the lens to the extreme points of the object, rectilinearity
in the other direction being insured when the measured distances
are equal.

TONING BROMIDE PAPER

By H. Hands

I ONCE thought that everybody who had had any experience
at all in photography knew all about this simple process ; but I
have lately realized that very few, comparatively speaking,
have tried it, and some others there are who have tried it (so
they say) and failed. I can think of no reason why people
who have the suggestion before them every time they buy a packet
of bromide paper should never trouble to work the process, except-
ing, perhaps, that they may have hazy notions of sulphur toning and

154

Digitized by

Google

consequent want of permanency. Yet such people ought to know
that the manufacturers would not recommend a process for their
paper that would give proofs likely to fade as a consequence of the
toning. Of course they get mixed, and overlook the fact that the
** sulphur toning " of a P. O. P. print and the " sulphide toning "
of a bromide print are not one and the same thing.

It seems almost impossible to me to go wrong in using this pro-
cess. The maker is careful, and recommends mixing the hypo and
alum by dissolving both separately, and then adding the alum slowly
to the hypo. I do not doubt that he is theoretically right in this, but
I throw both ingredients into the jar, and dissolve them together.
Then they say,
** You must
alum the print
before toning."
I have nothing
to say against
this, but all I do
is, as soon as the
print is fixed, to
transfer it di-
rectly into the
hypo-alum ton-
ing solution,
which is cold,
and then raise
the heat very
gradually till the
fingers will just
bear immersion
comfortably.

One cause of failure 1 have heard of: An enthusiastic amateur
got a zinc dish for the toning, and, when he saw his dish collapse,
gave up the process as too troublesome! Enameled pie-dishes are
what you want (not of necessity those specially manufactured for
confiding photographers). They will stand the heat perfectly.

If a number of prints are done at the one operation, no one could
justly call it troublesome, while the results are really charming when
the prints have good contrasts. Different brands of paper will tone
to different depths and shades of color, while the developer used for
the paper has some influence in the same direction.

' No Place Like Home

By S. Orlando Trip/ye

155

Digitized by

Google

THE STABILITY OF DRY PLATES

I)Y Charles E. Fatrman

{Illustration by the Author)

WE hear from time to time many complaints of the
imperfections of dry plates, and very often the state-
ment is made that ** tlie plates were old," in account-
ing for a failure that seems more or less unaccount-
able. 1 shall not attempt to convince any one that a
had plate is as good as a good plate, or that a i)late which was defec-
tive when made will ever improve with age ; but I believe that a plate
properly made remains good for years, and that but little change
takes place if the plate is properly taken care of. In support of this
proposition, I wish to relate a personal experience.

In the summer of 1893, in company with friends, I made a trip
in a house-boat, on the Chesapeake and Ohio Canal. The owner of
the boat had built in one end of the cabin a very convenient dark-
room, and had used the boat for several

trips of
nature,
ing on
owner
offered

a photographic

lie fore start-

our trip the

of the boat

for our use

Muggins '

some 5x7 Carbutt
( )rthochromatic Plates,
Sen. 27. which had then
been stored on the boat
for one or two years,
and informed us that
we were perfectly wel-
come to the plates, as
he would have no occa-
sion to use them for
some time, and that he
would rather have them
used than left on the
boat to spoil with age.
While we appreciated
the offer we did not
make use of the plates,
as we feared they were
at that time injured
from being exposed to
the dampness of the
boat during the winter

156

Digitized by

Google

and the extreme heat of suninier. The owner of the l)oat allowed
the boat to remain on the canal unused after our trip until iSgC),
when the boat was sold to a purchaser who had no interest in
photography, and who, in making some alterations, removed the
dark-room.

In the summer of i8(X> one of the members of the party who made
the canal trip in 1893 called on the purchaser of the house-boat, and
during the call referred to our trip in 1893, and the very pleasant time
that we enjoyed on that occasion. During the conversation the pur-
chaser of the boat referred to some dry plates which he found in the
dark-room at the time the repairs were made, and presented a box
of plates to his visitor, with the remark that *'the plates were all right,
for he had opened one box, and none of them were broken." And so
it happened that this box of plates which I had considered too old for
use in 1893 came into my possession in 1896, as the person to whom
they were given by the present owner of the house-boat did not care
to spend his time in experimenting with such aged plates.

I did not consider the donation of much value, and the value did
not rise in my estimation upon opening the box, for I found that the
plates, either from heat or dampness, had become stuck together, so
that it was almost impossible to pry them apart with the blade of a
knife. Thinking that the plates were ruined, I closed the box and
left the plates in my dark-room from the summer of 1896 to the
summer of 1897. My dark-room is located in a cellar, and not
entirely free from dampness during the summer months.

In the summer of 1897 I used some of the plates with a color
screen, and developed them with a view to saving the clouds at
the expense of the remainder of the subject, and found that the
cloud effect was much better than I had expected, as I had considered
the plates ruined from age and dampness in 1893. Upon finding that
the plates had not become worthless with age, I saved the remainder
of the box until the summer of 1899, when t made another successful
negative.

I find upon inquiry of the manufacturer that the plates were
coated January i, 1891, so at the time of making the second exposure
they were over eight and a half years old. I consider that the test
to which the plates have been subjected is unusually severe, as they
have been stored for more than six years in places wholly unfit for
keeping dry plates, on account of the intense heat and dampness.

The query naturally presents itself as to the length of time plates
stored in a suitable place where the temperature is uniform and free
from dampness can be kept without injury.

157

Digitized by

Google

THE PROGRESS OF THE PHOTOTOPOGRAPHIC
SURVEYING METHOD

By J. A. Flemer.

THE phototopographic surveying method, originally devised
and elaborated by Col. A. Laussedat, now Director of the
Conservatoire des Arts et Metiers a Paris, is based upon the
inverse laws of perspective, which were already known to J.
H. Lambert, who refers to them in his work on "Perspec-
tive," published in Zurich in 1759.

The first practical application of these principles to map-making
is generally ascribed to the French savant and hydrographer Beau-
temps-Beaupre, when he made a series of freehand sketches of the
coastal belts of Tasmania and Santa Cruz while on a scientific expedi-
tion (1791-1793). After his return to France he constructed topo-
graphic reconnaissance maps of the explored regions which were
based upon those outline sketches of the terrene. Beautemps-
Beaupre frequently recommended this cartographic method to
explorers, still little was accomplished by others until Arago ( 1839)
called attention to the possibilities of photography when utilized in
this direction by the topographer.

When Col. A. Laussedat first became interested in the study of
iconometric mapping, he used a " camera clara " for obtaining the

outline sketches of the terrene,
but after 1852 he caused a
** camera obscura," modeled after
the one used by Niepce, with the
addition of special devices for
surveying purposes, for the exe-
cution of numerous experimental
surveys, in which he was subse-
quently aided by Capt. Javary of
the French Genie Corps. In
1859, after having perfected his
method, Col. Laussedat an-
nounced the successful application
of photography to surveying- to
the Academy of Sciences in Paris.
Col. Laussedat's work in this field
has been so complete that the
guiding principles first enunciated
by him still form the foundation
of every phototopographic survey
made at the present time.

This method was at once pre-

By B, L. H. Dabbs

158

Digitized by

Google

emptcd by the army engineers of both France and Germany for
so-called secret or military surveys. In recent years, however, photo-
topography has found a wider and more general application in nearly
aH European countries, in North and South America, in Asia, anj
more recently still in Africa. Among the principal workers in this
field in France, besides the two already mentioned, we may cite
Pate, Jouart, Capt. Carrette, Commandant Moessard, Dr. Le Hon,
Commandant Legros, Mouchez, X'allot, and others.

The F'rench Ministry of War in recent years has experimented
extensively with balloon surveying and so-called ** telephotography "
(long-distance photography), both being well adapted to military
reconnaissance and to locate hostile army corps with or without
intrenchments and fortifications, especially since the general intro-
duction of smokeless gunpowder.

Col. Laussedat's photographic surveying methods were soon
adopted in Germany and Austria. It is even claimed by some writers
that A. Meydenbaur, in 1858, while engaged with the mensuration
of the cathedral at Wetzlar for the purpose of its renovation, had,
independently of Col. Laussedat's work, conceived the idea of using
photographs of the cathedral to construct the plans showing its actual
condition at the time of the survey. Dr. A. Meydenbaur has pub-
lished numerous articles and pamphlets on the subject of photo-
graphic surveying, and in 1882 the Prussian Government placed him
at the head of the '* Photogrammetric Institute '' in Berlin.

Count Moltke as chief of the Prussian General Staff early recog-
nized the value of photography applied to military and secret surveys,
and the Prussian army, in 1870, had a complete phototopographic
detachment in service, under the command of Capt. Bernhardi and
Lieut. Doergens. Dr. Meydenbaur, Prof. Jordan, Dr. Doergens, Dr.
Stolze, Dr. Finsterwalder, Dr. Pietsch, Dr. Koppe, Dr. Vogel, Dr.
Hauck, and others have largely contributed toward the popularization
of photographic surveying methods in Germany.

Dr. Koristka, while visiting Paris in 1867, met Messrs. Laussedat
and Chevalier, and became interested in the photographic surveying
methods. His subsequent photographic survey of the city of Prague
is probably the first practical application of Col. Laussedat's method
in Austria.

In 1890, a series of experimental phototopographic surveys was
made, under the auspices of the Military Geographic Institute of
Vienna, which fully demonstrated the superiority of this method for
the survey of certain regions, and since then many engineers have
applied photography to the surveys of inaccessible mountain dis-
tricts in Austria. Among the more prominent workers in this
branch of surveying in Austria we may mention Lieut. Mikiewicz,
Major Bock, Lieut. Hartl, Capt. Hiibl, Major Pizzighelli, the engi-
neers Pollack, HafFerl, and Maurer, Prof. Schififner, Prof. Schell,
Prof. Steiner, Prof. Heller, and others.

The largest area surveyed photographically in Europe may be

159

Digitized by

Google

found in Italy, where excellent results were obtained fully demon-
strating the efficiency of phototopographic methods for the surveys
of mountain regions cf an Alpine character.

Although Prof. Porro's experimental work dates back to 1853,
nothing of note was accomplished in Italy until Micheli Manzi, of the
Military Geographic Institute, used some photographic views to sup-
plement the topographic details of his plane-table survey of the

region about
the " Gran
Sasso."

In 1878,
General Fer-
rero, Chief of
the Geodetic
Division of the
Italian Mili-
tary Geogra-
phic Institute,
detailed L. P.
Paganini, En-
gineer Geogra-
pher of the In-
stitute, to make
some experi-
mental photo-
topograph i c
surveys in con-
nection with
the new topo-
graphic survey
of Italy. Paga-
nini's results
were so grati-
fying that the
photo- topogra-
phic method
has since been
used for the
survey of the
entire area in
Italy situated
above the alti-
tude of 2,000 metres, areas below that elevation being surveyed
with the plane-table.

Owing to the untiring efforts of Capt. E. Deville, Surveyor Gen-
eral of Dominion Lands, phototopography has been practiced with
remarkable success in the Dominion of Canada. The method was
first used, in 1888, for surveys in the Rocky Mountains in the vicinity

160

Chantry in the Bcauchamp Chapel, Warwick

By James Gale

Digitized by

Google

of the route of the Canadian Pacific Railroad; then for the topo-
graphic reconnaissance of southeastern Alaska, made for the Inter-
national Boundary Commission, in connection with the delimitation
of the boundary line between Alaska and British Columbia ; and more
recently for the mapping of the region about Dawson City (Klon-
dike), and for irrigation surveys made in Canada.

The United States Coast and Geodetic Survey Bureau has repeat-
edly used this method for topographic reconnaissance surveys made
in the Territory of Alaska since 1894.

STEREOSCOPIC WORK

By George Kilburn

NOW that the winter months and long evenings are with
us again, many photographers — both amateur and pro-
fessional — will be pondering in their minds as to what
they can be doing at their pet hobby, or, if belonging to
the latter class, what they can introduce to their custo-
mers and the public, to increase their work, as it must be very little
they can do at this time of the year, owing to lack of orders and dull
days. Many amateurs will occupy themselves in making nega-
tives and prints from them by
their favorite process, such as sil-
ver print-out, carbon, or autotype,
bromide or platinotype. Some
prefer making enlargements, and
others make lantern slides their
chief hobby, while a number of
others devote their leisure time to
stereoscopic work.

To those who are hankering
after something new I would rec-
ommend trying their hands at some
other branch of photography than
what they have been working at.
I have many times wondered why
more amateurs do not take up the
practice of making ** Stereograms."
To my mind, this is the most inter-
esting branch of photography, as it
not only gives a great amount of
pleasure to myself and family, but
interests equally most of my friends and others who visit us.

Those who have practiced stereoscopic photography know that
they can obtain a great many subjects, and of an almost infinite

161

Fourteen Degrees Below Zero

By Geo. Y. Lewis

Digitized by

Google

variety, which are suitable for stereograms, but which would not
be suitable for ordinary photographs. The fact that this is so is
easily appreciated if two pictures of the same subject are photo-
graphed, one with a one lens and another with a twin lens camera.
The single picture will look flat and lifeless, while the double picture,
when viewed through the stereoscope, will look full of life, every
detail being apparent, and showing the scene in all its reality.

Another point in favor of stereoscopy is that the negatives are
suitable for other work, such as lantern slides, enlargements, small
prints for birthday, wedding, or Christmas cards.

I could say more as to the usefulness of this class of pictures,
but will let this short article suffice for the present. Perhaps it may
awaken some fellow camerist to the beauty and pleasure to be derived
from this, to my mind, the most interesting branch of photography.

THE IMPROVEMENT OF THE AMERICAN
LANDSCAPE

By F. C. De Sumichrast.

IT is said that a celebrated critic once remarked that the very
outline of American mountains is vulgar and devoid of beauty.
He did not say it, of course, but what he might well have said
is, that a large class of Americans are steadily at work destroying
and vulgarizing the fairest scenes in the loveliest neighborhoods.
No man feels this more acutely than the landscape photographer,
who is constantly irritated by the degradation of choice bits by staring
advertisements of stoves, soaps, and patent medicines. Instead of

the vine - clad
cottages of the
Old World, the
American artist
has to submit to
the hideous
transformation
of a house or
barn, otherwise
susceptible of
entering into a
pic t u r esque
composition, in-
to a staring
background for
huge lettering
proclaiming the
invaluable prop-

By H. C. Close

162

Digitized by

Google

erties of a drug or the superior advantages of a polish. The loveliest
bits of marsh and meadow are rendered offensive by the erection
thereon of enormous bill-boards, which no effort on the part of the
photographer can relegate to a corner where they will be invisible.
The rivers and lakes, the very brooks and mountain streams, are made
receptacles for the detritus of picnickers and soulless tourists, who
scatter candy-boxes and dirty newspapers over the turf of the banks,
the bracken, and the underbrush, and the face of the rocks that are
laved by the pellucid waters. Industry of another sort adds its con-
tribution to the disfiguration of the glens and rifts — trees are cut
down, and allowed to fall, leafless, bare, repulsively naked, in the
current, and to anchor themselves precisely where their gaunt gray
limbs will interfere most successfully with pictorial treatment of
the " bit.'' The ubiquitous can, that has held captive the remains of
the lobster, the salmon, or the green corn, the peach, the pear, or
the apricot, protrudes itself everywhere, and asserts the supreme

right of man's

skill and man's
utter disregard
of loveliness to
sully the face of
Nature in her
most secret-
nooks and
sweetest aspects.

Is it not time
that some effort
was made, not
by isolated indi-
viduals or by
critics sharp of
tongue, but by

bodies of people vitally interested in the preservation of natural
beauties, to put a stop to this desecration? Patriotism, so-called,
has become more rampant than ever. It has attacked the very flag
of the country and turned it into an advertising medium ; it makes
day horrible and night a terror with the explosion of the devilish
invention of the cannon cracker; it calls on all men to dub heroes
those who have but done their duty, leaving no honor for the real
heroes who have done what it is given to few to accomplish.

But is there to be no patriotic feeling of pride in landscapes that
are as fair as any that exist? Are they ever to be sacrificed to the
vandal advertiser? The telegraph and the electric-light pole are,
no doubt, useful, but must they always be planted where they will
do the most harm, when a yard or two farther away they would not
destroy the perfection of the view? Within half a mile of the
mountain seclusion where these lines are being written, there is as
beautiful a scene as even the most crusty European may wish to

163

IV et Day on the Promenade By Fresco tt Adamson

Digitized by

Google

behold. A mountain stream tumbling over rocks, between green
wooded banks, rich in bracken and flowers^ the birch and the aspen,
the maple and the fir, mingling their varied foliage against the
cloud-flecked blue sky ; and, for background, a noble mountain, lift-
ing its bare head from amid a wilderness of wood, and its whole face
bathed in the marvelous vaporous haze that captivates one in Cape
Breton or in the Grampians. Right in the foreground, three or
four skeletons of trees, cut down for some mysterious purpose, have
been allowed to lie where they fell, as if in justification of the Cal-
vinistic hymn. Around these, and on either flowery bank, old news-
papers, yellower and dirtier than their contents even; a fringe of
tin cans, horrible in their eviscerated and jagged condition of use-
lessness ; and, towering in the very centre of the picture, a telegraph-
pole, that might have been placed behind the trees six or ten feet
away on one side. And this is no exceptional case. Any one can
multiply instances of the same disfiguration from his own painful
experience.

Who are most interested in the preservation of the numerous
natural beauties of the American landscape? The whole nation is
interested, or should be ; but what is every one's concern is no one's
business, and, if we wait for a national movement, we shall wait a
long time; and, meanwhile, more horrors will be added daily, for
the evil appetite grows by what it feeds upon, and the advertiser
is always seeking new spots to deface with the brazen proclamation
of his wares. It is the artists, whether with brush or camera, who
must move those who are able to stay this evil. The photographic
clubs that are wondering what they can find to interest their mem-
bers, what novelty they can draw their attention to, might well
start to improve the conditions in their immediate neighborhood.
A campaign of artistic education of the American people is what
ought to be undertaken. The fruits will be slow in coming, but
they will come in time, and, if others reap where we have sown,
there will be this satisfaction at least, that what could have been
done by others has been done by us, and that those who come later
will be grateful to their predecessors for rescuing landscape from
the curse of the stove, the soap, and the tin can.

PHOTOGRAPHIC PREVARICATIONS

By H. M. Beeles

I WOULD not have the fraternity think for a moment that 1
believe in prevarication as a rule, and yet in some cases to
falsify, as in the following, is profitable, and perhaps, some-
times commendable.

Back in the seventies I had occasion to copy a picture of a
gentleman from a tintype. The picture had been taken several years

164

Digitized by

Google

Digitized by

Google

Digitized by

Google

before, and his children desired 8 x lo enlargements as he looked
when young. The gentleman in question had an enormous under-
lip, and the artist ( ?), who evidently knew nothing of lighting his
subject (the position was good), had so posed him as to greatly
exaggerate the shadows under the eyebrows, nose, chin, and the lip,
and, of course, exaggerated the lip also. Indeed, the man had
altogether " too much lip."

If I could remedy that, I could secure a very good order; so,
telling my customer I was pretty sure it could be done, I went to
work. Wet plates were in use then, and I made a fully timed nega-
tive, and filled up the objectionable shadows as much as possible by
retouching, and then pasting French tissue paper on the back of the
negative. I carefully re-enforced my retouching by stippling
Prussian blue on to the tissue, proofing from time to time, until
the work suited me. My customer and the children declared it a
perfect likeness. I think it was, all but the lip, which to me appeared
" altogether too thin" !

A German once came to me for a sitting. He said : ** I haf
been to two or tree galleries to haf my pictures taken, but dey all
show my nose so bad I don'd vant dem at all. You see it vas dis
vay: I fall in de voods, und preak my nose mit a handspike. If
you can make me a picture vat don'd show dat grooked nose, I vants
a dutsend ; if you cand, I don'd vant any."

I told him I would try, so I gave him a sitting, having him look
well to the left, as his nose crooked that way ; then, having the right
side well in the shadow, I made the negative.

** Ven will you haf dem done?" he asked.

I told him he could call in a week.

*' Vel, if dey suit, I brings you lots of work."

The week passed, and he called with his wife, two grown-up sons,
a daughter, and a sister.

I handed him the envelope containing the photos.

*' Vel," he said, *' I don'd expect dey'l suit."

I suggested that he had better look at them. He nervously took
one from the envelope, and looked at it.

"Veil, you did! Yon did it!" he exclaimed. And he at once
ordered two dozen more, and I made either three or four more
sittings for them before they left the studio, and in the end about
forty dollars' worth for themselves and friends.

Sometimes prevarication pays.

165

Digitized by

Google

DISTORTED PICTURES

By Robert H. Bow, C.E., F.R.S.E.

SOMETIMES for useful purposes, and often to produce
comic effects, it may be sought to reduce or enlarge the
scale of a design or picture in one direction, compared with
the scale at right angles thereto. There are various methods
of producing this regular kind of distortion, a popular
account of which has been promised by Dr. Moritz von Rohr, of
Jena, so I shall here describe only one that suggested itself to me
early in this year.

This method requires two operations at least: The first is to
copy with the object-picture placed obliquely, as shown on plan by

^'^.2,

'V--^-^«:

GOH in Fig. i, where C is the lens, and JK the image or copy. We
thus get a reduction of the horizontal scale compared with the vertical
one.

But the vertical scale at J will be exaggerated compared with the
vertical scale at K, and the image, IK, of one-half of the picture is
less than the image, IJ, of the other half. The second essential
operation corrects these irregularities, and is as follows: The pho-
tograph obtained from the negative, JIK, is placed in camera, as
shown in Fig. 2, so obliquely and so distant that the ratio of CJ : CK
of Fig. 2 will be = CG : CH of Fig. i, and the desired result is got
at m — n.

To secure fairly good definition, we must use a very small stop,
and make a considerable reduction in size (see Appendix below).
If the result so got would be too diminutive, we may resort to normal
enlargement after one or both operations.

The obliquities of GH in Fig. i and JK in Fig. 2 are not neces-
sarily equal. But, if in each the obliquity be made = 45**, the hori-
zontal scale in m — n will come out half that of the vertical one;
54 '^ 44', gives one-third ; 60° gives one-fourth, and so on.

There is a curious connection between the ideas involved in the

166

Digitized by

Google

above and in a paper I read October 21, 1863, before the Edinburgh
Photographic Society, on " How to take a Non-distorted Copy with
a Distorting Lens."

APPENDIX.

The Degree of Confusion at the Sides of the Images. — We may
fairly assume, in considering this, that the size of the stop is always
in the same proportion to the length, a. This will give a constant
angle for the pencils of light illuminating the image.
Let F = focal length of the lens.
Since a = Yb/b — F, by differentiating we have,
da _ / F \g _ a^
db - \b—Y] - b^
That is, when the centre, O, of the object-picture in Fig. i is in
correct focus at I, the longitudinal error of focus of G at near K
will be approximately = G^ x a^/b^\ and the diameter of circle
of confusion representing a point will be

^ a^ diameter of stop

But in estimating the imperfection of the image, we must take
its scale into consideration. We must, therefore, divide the above by
the size of the image, which varies at a/b, so that the degree of
imperfection in the case of Fig. i is expressed simply by
Ge X diameter of stop /b. If, for example, the stop = a/ 100, the
imperfection varies at Ge X«/ioo b. In the case of Fig. 2, ^e is to
be substituted for Ge.

PHOTOGRAPHIC GHOSTS

By C. B. Talbot

THE keen eye or touch will see or feel the presence of
** spooks " in the new century as in the past. They will
have the .same charm on cloudy nights or in the mists of
obscurity as ever, because we like to meddle with white
sheets and the tripods of witches, just to see if they are so ;
ever waiting for Pandora's open box, even though one of the evils
fall on us. It is well to assure the timid of the harmlessness of these
things, although uncanny, however devised. But here they are, in
our photographic dark-house, and not a peep of day to discover
them.

Perhaps the most common of these evil presences is found in the
developer, while watching and waiting for some new creation to
appear. Not the one we expect, but the unexpected, alights on our
web of fancies, when the beautiful thing we had hoped to see comes
out in fogland, with here or there a tree or chair below the vacant

167

Digitized by

Google

field. Probably, if we had divided the time of exposure by two and
doubled the water of the developer, adding a drop or two of patient
bromide, the fairy would have alighted on that plate, and not the fog
from the coast of ghostland.

On the next, summer evening was never more beautiful: the
sun at rest below the golden clouds; the long shadows of a few
moments before are gone, absorbed in the mild yellow light from
above. Click goes the shutter well for four o'clock — four times too
much for noon, four times too little now. Half an hour in our lamp-
room, and not even a " ghost " on the clear glass.

Another : Off toward the sun we spaced the air and field ; a shaft
from his golden rim found a resting-place on a bright spot of metal
near the lens. After, as we watched, a diamond kite and foxy tail
spread over the shadow of our only rock in a weary land — of the day

By E. S. Strout

before. That ghost would have been *' downed " if we had blackened
the metal and used a sunshade.

The next time : Our " spooks " came in twos and threes. We
had some pieces of houses, a window or two, superimposed on our
principal building. How could such things be? Three, four
pictures on one plate! One was all we needed. Investigation
revealed that we had drawn the slide, and waited until a stray dog
and his master walked by the scene. That morning a new lens had
been put on the box, covering less of the screw-holes of the old one
than it should, which gave us a three-barreled pinhole camera and
lens combined — an improvement for which we did not ask a patent !
As a result, a line of good, real live ghosts ! Sometimes we were not
so successful from the use of a hole in the corner of the bellows or a
little light from the end of a warped plate-holder. We often won-
dered why the old camerist always covered his machinery up with
black cloth, wrapped in warm clothing, until the shield was drawn
and closed again. While not a handsome habit, we found it saved

i68

Digitized by

Google

Digitized by

Google

Digitized by

Google

some heartaches, as we have seldom known g^lue and a cabinetmaker
to remain lifelong friends. When they parted, we usually found it
out, as, for instance, when our neighbor left his leather box on the
beach while the tide came in. Then we had a parting when the
mountain dews dampened the roll-holders, when we, stubborn and
strong, parted the film in the middle, as it would not otherwise be
moved ! Then it got damp on the surface — a stripe on its face from
end to end. Though we did not see that ghost until we got the
" roll " home from Klondike, after a year's waiting. We do not
have that kind of film any more, but the cut ones, like leaves in a
book, or the magazine sort, loading in daylight from a box — when
we go in " a far country strange things to see." In that way we
do not see so many strange things when we get them home.

But then, the real ghosts — a departed face on the glass with your
best friend. There he is, old Shamrock and yours, separated by the
bridge of death for many years. That is getting near enough to the
supernatural for any one. We had an old negative of Shamrock,

By H. W, Scandlin

which stood on a sunny shelf for many a year. He being dead, and
his friends, too, we put them in the acid pot, along with the piece on
which we afterward made Thistle. We rubbed it with alcohol and
rotten stone, dressed it up in a new collodion coat, bathed it in silver,
and stood it up before Thistle. When we washed, ironed and hypoed
it, there stood Shamrock just beside Thistle! Did you ever see an
old sign rubbed off a window? There are the letters still, though
darker than the rest. So, like it, while any of the glass remains.
Shamrock still lives! Thistle objects, and will not pay for the
pictures. So you lose them both in the night of oblivion, not being
careful of " the immortals."

Then you put in your plate-box, between your plates, a slip of
printed paper, on which you wrote " Castle Rock." When you
developed it, you had that and all the printing, " large as life and
twice as natural," where you did not wish either — across the entire
piece. Then you took some white paint and marked the shield

169

Digitized by

Google

'* No. 5," which when you drew it you turned inside. You developed,
and then that lordly " No. 5 " stood out in bold array in the middle!
If the spooks do not possess such things, then who does?

But there is a knave around the corner willing to fish a penny
from any pond wherever found. There is a seance in the neighbor-
hood determined to have " spirit photos " at their next sitting. K. is
commissioned to bring in the paper " spirits." So he sits up a bride
of many years ago, or " baby blue " makes a slight exposure on the
plate on which Mrs. Medium is to sit. A little candle-light in his
dark abode before an extra camera, is sufficient. A part of the face
and shoulders of white will do; only a little, just enough to be dis-
cerned — when Mr. Fakir has succeeded in making a real spirit photo-
graph. It will be all the better if Mrs. M. will give him the picture
of some one known to them all, who has passed on before.

The illusion of making a man play chess or cards with himself,
write a letter and look over his own shoulder at the writing, stand
beside or behind himself, have a friend or two help him at the mischief,
and a hundred other things of this nature, can be done in the camera
neatly. Ghosts can be introduced, or any fake desired, by having two
or more folding-doors in the back of the camera, near the plate-
holders. Open one half, and expose the plate ; put on the lens cap,
and open the other door — when the same man can sit or stand, as
desired, or a new person be introduced or left out of the picture, as
the case may be.

There are a number of ways to fix these doors. The simplest is a
slide of pasteboard, which will cover about an eighth of an inch
more than half the camera (depending on its distance from the
plate). If too wide, narrow it until the lap is imperceptible when
developed. The division line may be horizontal, vertical or oblique.
The vertical line is easier to work, as it requires only the sliding from
side to side, which may be done with a thread, or the plate-holder
may be taken out and the card slipped to the other side, care being
had not to move the camera. Should it be moved slightly, if the
background and figures are plain, it will not be noticed, unless some
part of it, as a table-top, extends into both parts of the picture. A
handier way is to have the doors hinged at the side and opening in
the middle, each kept shut by a small spring, opening one or the
other by a thread, pulled out and fastened at the side, while exposing.
Where the figures are complicated, as a chamber window or balcony
opening into a court, more elaborate mechanism is required, planned
on the same principles.

Some years ago, the Indians of Southeastern Alaska were shown
some of these " fakes,*' and ever since they have been fearful of a
camera, as, just after that the smallpox appeared among some that
had their pictures made, and they attribute the whole misfortune to
it or the dark box that can make such lies. Now it is difficult for a
stranger to get their pictures. So, black-box men, beware how you
impose on a confiding public !

170

Digitized by

Google

A long list of spooks may be found among the chemicals we use.
Several of them have appeared to all of us, uninvited. When they
are gone, you may say something unkind of their memories.
" Oyster-shells," " pinholes," " frills," " mottles," " stripes," " spots,"
" stars," and garter-snakes of all sorts and many tribes we cannot
mention, have invaded the glass house at one time or another, and
will continue to live there high above the stars when we are done
with it. The poor man who manipulates plates is continually falling
among thieves, and these nightmares, unawares. From most recitals,
how dreadful a thing is a box of plates ! What may they be or not be ?
What grief, what joy, or pride before a fall ! Perhaps photography is
of that instructive nature which reaches to all ages — certainly to
those to come. How we would like to see Caesar on his way to Asia,
just as we now see our boys in cold, black ink leaving Tacoma, and
landing in Manila, after a month of rolling on the ocean, and in the
mud chasing Philippinos ! Glory is cheaper now than it used to be ;
but most can endure their share of it, caught on the park, peak, or
shore — ^helpless before sprites who pull strings, or put your head on
the wrong shoulders, or who put your grandfather on the front
porch among the spirits of the departed.

CHASING A PRAIRIE FIRE

By C. N. Whittaker

ill/usf rations by the Aut/ior)

DURING the last few years the farmers of the Western
States have been troubled by a new weed, the Russian
thistle. It is about the shape of a bushel basket, but often
many times larger. In the fall the root is broken by the
wind, and all during the winter the weeds are blown across
the prairie, scattering the seeds, and finally collecting in the corn-
fields in such quantities that the farmers are compelled to burn them
before they can go through the fields with their plows.

The town of Imperial, with its three hundred inhabitants, is
scattered over a territory a half a mile wide and a mile and a half
long. It is situated on a little stretch of prairie among the sandhills
and prairie-grass, and weeds grow between the buildings, in some
instances coming to the very doors and outbuildings, so the dan-
gerous location of the village with regard to prairie fires may be
readily understood.

Last spring, two brothers, living southwest of the town, allowed
their fire to get away from them. It was started in the morning, a
time when the wind often rises, but this is something that the Wes-
tern farmers cannot or will not learn. A brisk breeze from the north

171

Digitized by

Google

drove it across a tract of country sparsely settled, but used as pasture-
land for several thousand head of range cattle. Those whose graz-
ing-grounds were in danger were the only ones who experienced any
uneasiness ; but about one o'clock the wind changed to the southwest,
and, as the clouds of black smoke began to roll up among the sand-
hills, men hurried down the street with wet grain sacks or shovels in
their hands. Occasionally a horseman rode out a few miles,
reconnoitred, and came back. The two dray-wagons of the little
place rattled out with plows and men, and began a fireguard just
outside of town.

As the fire came near, the people became more excited. Two or
three carriages raced back and forth carrying men to the scene of

Behind the Prairie Fire

action, and horsemen dashed across the prairie bringing news as to
where the fire was burning. Anxious to try my luck on a real live
prairie fire, I sent to the livery barn for a team, and, three of us in the
buggy, we galloped toward the place where the smoke was thickest.
The driver seemed to have caught the general excitement, and gave
no heed to bumps and ruts, turning corners in such a manner that we
were forced to sit heavily in our seats to keep the four wheels of the
buggy on the ground. The third member of our party was a married
man, and thoughts of a possible widow and a large family of orphans
made him somewhat timid as we neared the conflagration. The
nearer we approached the flames, the more his courage failed him,
until it disappeared entirely and fright took its place.

When we were about a mile out of town, the fire seemed to be

172

Digitized by

Google

just over the next rise of ground, so I directed the driver to take us
to the top of a little knoll, took out my tripod and camera, got ready
for business, and waited. A brisk breeze was coming to us from the
fire, which was crackling and roaring about three hundred yards
away. The married man became frantic, the horses snorted and
pawed, and the driver called to me to hurry up. "Click!" The
plate was exposed. Into the buggy I climbed, and down the road
we raced, with flames close behind us. Then the wind changed a
point, and the flames went off in another direction.

Down by the village the men were " backfiring '' — starting a fire
along a road or furrow which it could easily be kept from crossing,
in order that it meet and check the prairie fire. Here the railway

The Fireguard

section gang was working with its customary slowness, and the road-
master was vainly trying to '* get a move on *em.'' Twenty other
men were working here, but the section gang was most effective,
for, though they obeyed him slowly, they had but one boss. The
rest were all bosses.

The daily train should have left at one o'clock, but the conductor
had received orders to work with his crew to protect the company's
property. The spruce brakeman, known to all the unmarried ladies
along the little branch line, the handsome mail clerk, who refuses to
flirt, the engineer, and the fireman were all laboring amid the smoke
to see that no stray tumbleweed carried the fire past the guard.

After making an exposure, I crossed the fireguard with the inten-
tion of catching the head-fire as it went through some tall grass.

173

Digitized by

Google

Choosing a good location, I planted my camera and waited. The air
became hotter, the smoke thicker, and finally the flames struck the
tall grass. Great columns of black smoke rolled into the air, and
through the roaring and crackling I could faintly hear voices calling
to me to " get out of there !'' I did not wait to study the ground-glass,
but focused by the figures on the front of the camera, pointed it by
guess, fired away, and ran for it. Of course it would have been a
lovely negative, for I forgot to draw the slide.

When I got back on " dry land," I noticed that the men looked at
me from the corners of their eyes as at one who, if not properly
watched and cared for, ran a great risk of getting his fool head
burned off. So I walked around on the burned prairie, thinking to
take the flames from the rear; but again the wind changed, so I
stood with the camera ready, and watched the little wreaths of smoke
that rose from the blackened ground. Half a mile south of me tlie
smoke was being blown east, while where I stood I was enveloped in
a cloud going west. Across a little valley the fire was burning with
great vigor, but in my locality the progress of the flames was very
slow. An occasional whirlwind hurried across the valley, carrying
a column of black smoke and cinders, but none of them were large
enough to photograph.

Suddenly the wind veered to the west, and a hundred feet from
me the red flames sprang high into the air, while the reports from the
burning grass and weeds sounded like an incessant volley of pistol
shots. Higher rose the flames, and louder was the roar. I knew
that the sudden gust of wind would last for a moment only, and,
turning the camera on the tripod to bring the flames within range,
I made another exposure. The wind ceased, and a gentle breeze
coming from the east nearly suffocated me with smoke ; but I took
the camera under my arm, and moved to a spot where, two minutes
before, the tall dry grass was standing; now the ground was black
and hot.

Half a mile east of me a huge backfire was burning, and through
the smoke I could catch an occasional glimpse of a line of men stand-
ing behind it, whipping the ground with wet rags.

Birds flew from the grass, and hawks and buzzards sailed through
the smoke as though waiting for their food to be cooked. Sharp
watch was kept along the road for rabbits, which escaping through
the flame might carry the fire toward the town. Many ran out, but
I saw none on fire.

On the west and south blazed the prairie fire, while on the north
and east burned the backfires ; thus on all sides the fire was running
slowly toward the centre. The wind changed to the southwest, and
instantly the entire line of the prairie fire sprang into action. The
roar was incessant, and the landscape was enveloped in clouds of
white smoke.

Not a blaze being in sight, however, I exposed my last plate,
folded my tripod, and, like the Arab, silently stole away.

174

Digitized by

Google

HALO DUE TO THE REFLECTION OF LIGHT-
MEANS OF AVOIDING IT

By Charles Gravier

IT often happens, when one photographs, with extremely rapid
plates, interiors, narrow streets, or alleys, with thoroughfares
wherein the light strikes very forcibly, that after development the
highly lighted parts of the plate are surrounded by a sort of

stumping which transfers itself to the positive proof by a degra-
dation of tone analogous to that which is produced when the nega-
tive is retouched during development with a brush by means of a
quick reducer. This is known as a halo of reflection, to distinguish
it from the other kinds of diffusion produced by light.

The halo due to the light's reflection on the back of the plate is
frequent, but it is about the only one that can absolutely be avoided.
It suffices to cover the back of
the plate with a substance
which, in absorbing the light
that traverses it, stops its reflec-
tion. It is admitted that this
substance should be in optical
contact with the glass; that is
to say, there must be no inter-
val or air interposing.

Much has been said regard-
ing the efficacy of tissues
(cloths, velvets, etc.), and of
the colors of papers (red,
black, etc.). We have shown

On the Nile

By Geo. D. Pratt

by incontestable experiments, as they have been worked simul-
taneously and on the same plate, that all these applications leave the
halo due to reflection. We have also verified that all colored var-
nishes, all colored pomades, all colored coatings, are efficacious and
excellent, if this air can be suppressed. But among the latter there
are some inconvenient ones. To start with, if the sensitized plate is
not immediately used, it is indispensable that this substance becomes
not brittle or liable to detach itself from the glass.

Then, again, essence, benzine, or alcohol varnishes give out dis-
agreeable odors when the coating is spread, and it becomes necessary
to use the same dissolvent to remove the anti-halo coating, and the
varnish at times is very adhesive. Some substances, such as gutta-
percha and caoutchouc, can be removed dry, but they produce scales
when detached suddenly, which may fog the sensitized coatings. The
pomades that do not dr}'^ completely soil the interior of the plate-
holders, therefore cause stains on the sensitized coatings, the devel-

175

Digitized by

Google

opers refusing to penetrate the part of the gelatine soiled by the
greasy stain.

Among the products that remain niore or less firm when dry and
still adhere to the glass, it is indispensable :

1. That the compound dries rapidly.

2. That it be easily detached from the glass when its suppres-
sion is desired, either after, or preferably before, development, to
avoid troubling the baths with corpuscles that may penetrate the
gelatine.

We have tried every proposed formula, and have rejected those
which take longer than fifteen minutes to dry. We give in this
article that which, in our opinion, is the best to be applied to all sen-
sitized plates. ( It is known that the thin films give negatives exempt
from the halo due to reflection, which is also in accord with the rea-
soning of the question.)

The following is the formula :

Caramel i part.

Thick solution of gum arabic i "

Burnt sienna earth 2 parts.

Methylic alcohol 2

Spread this
very rapidly
over the glass,
not occupying
more than five
or six minutes
at the most.

This paste is
preserved damp
and viscous,
ready for use,
by placing it in
tin tubes such
as are used for
colors. This

compound can

also be poured over marble to make it into little tablets, which can be
dissolved in warm water when used.

I take care, after spreading this paste in a very thin coating on the
back of the plates, to cover it with a thin black paper known in
France as ** Serpentine Paper."

To remove the compound, it suffices to place in a tray a rag or
piece of felt well soaked ; the side of the plate covered with the com-
pound is placed on the rag, and in less than a minute it can easily be
removed with a cloth.

The only difficulty in the composition of this compound is the
making of the caramel. Take about half a kilogram of powdered
sugar, or less if one wishes, place it in a saucepan, either enameled

176

Delaware Water Gap

By T. L. Brown

Digitized by

Google

^^2

Digitized by

Google

Digitized by

Google

or tinned, and melt it slowly (without water), stirring with a glass
or metal rod. The liquefied sugar first becomes light, then red, and
finally brown ; remove it from the fire, stirring it. This caramel is
poured over marble. It must be brittle, soluble in water, and not
hygroscopic. We are certain that the above formula will be adopted
by every amateur who reads this Annual, as it gives a com-
pound drying rapidly, very adhesive, and easily removed.

JAMAICA AS A GOOD WINTER RESORT FOR
AMATEUR PHOTOGRAPHERS

By E. K. Hough

AMATEUR photographers are searching the world over for
new and novel scenes on which to expend their artistic skill.
There are few places where nature shows so much of
picturesque beauty in wild luxuriance, combined with the
comforts of civilization, as in the Island of Jamaica.
The first thing to attract the attention of a stranger is the wonder-
fully good system of roads, by which easy access to all parts of the
island is made possible. To begin with, the island is about one hun-

By H. C. Close

dred and fifty miles long, and there is a good carriage or bicycle road
all around it, mainly so near the coast that continual glimpses of the
sea and shore are passing like a panorama of beauty, varied at every
turn, until a ride or drive along the coast-line becomes a perpetual
feast of nature's loveliness. Then the roads into the central parts
are along the winding streams in valleys, or on the brows of hills
overlooking wide rolling plains bounded by high cloud-capped hills,
rising into mountain peaks, and spreading out in plane after plane of
soft hazy distances to delight the eye of an artist, and make a pho-

177

Digitized by

Google

tographer glad he brought his yellow screen, to catch and hold the
delicate detail of the far-away distance.

Then the valleys in the mountains through which the roads run
are often veritable natural hothouses, where, by heat and dampness
combined, giant ferns are produced, and the whole road and mountain-
sides are genuine ferneries on a magnificent scale, with every variety
from the finest maidenhair to tree-ferns ten and twelve feet high.
Some valleys are a perfect tangle of giant creeping vines, whicli
cover the trees and hang down with long swaying tendrils, reaching
for the earth, where they take root and grow again like Banyan trees,
until the whole forest is like a vast network of living green.

Jamaica is called '* The Land of Many Rivers.'' The central
parts being high, the watersheds are frequently interspersed with
swift-flowing streams and miniature waterfalls or cascades, very
picturesque objects in the landscape, and the delight of tourists.

All these scenes of tropical
luxuriance are made accessible with
ease and pleasure to the tourist on
bicycle or by carriage, because in
years past the English government
took measures to make good roads,
and they have not only made them
well, but all the main roads, being
under control of the general gov-
ernment, are kept up with unceas-
ing care and labor.

A Road Inspector has charge
of a section, with men and women
under him constantly at work. No
ruts or sink-holes are permitted
to obtain. Just as soon as repairs
are needed, tliey are made with
as nuich care and promptitude as by
the section hands on a well-kept
railroad. Every little way by the
roadside the traveler wall observe
small piles of broken stone, contain-
By E. B. Core, i,^^ about an ordinary cart-load,
the pieces being about the size of walnuts or hens' eggs. Often he
will see groups of old men and women, colored of course, breaking
these piles of stone, and will come to places in the road where they
have been spread in repairs, sometimes to fill a small depression, and
sometimes extending over many rods.

There are more miles of good carriage roads on the little Island
of Jamaica than on the great Island of Cuba ; yes, ten to one, and
more than Cuba will probably have in the next twenty-five or even
fifty years. Yes, more than that ; there are more miles of good car-
riage roads in Jamaica than there are in the whole State of New

1/8

Digitized by

Google

York, if the uniformly good quality all the year round is taken into
consideration.

These advantages, with the added considerations of a country well
governed, under good police control, and with a peaceable, law-
abiding people, speaking English, go to make Jamaica an ideal
resort for the amateur photographer, especially if he is a cyclist as
well.

TRANSPARENCIES BY THE ANILINE COLORS

By p. C. DrcnocHOis

THE process described in this article is not new, but is,
however, little known, and consequently practiced by
very few amateurs, although susceptible of producing
fine results, useful for the decoration of ivory, nacre,
marble, wood, and glass. The manner of making trans-
parencies will only be described.

A glass plate is slightly grained with emery, or, better, with white
hydrochloric acid (that is, a solution of sodium fluoride specially sold
for frosting), in order to secure a perfect adherence of the picture,
and coated with the following solution :

Le Page's soluble glue i dram.

White of egg i ounce.

Water i ounce.

Bichromate of ammonia 25 grains.

Ammonia, cone 30 minims.

Beat this to a thick froth, let settle for a few hours, and decant
the clear liquid in a vial. It will keep for two or three weeks in the
dark.

To coat the plate — quite clean, of course — wet it under the tap,
drain it, and, while it is still wet, pour on the bichromated albumen
compound, commencing from the top and allowing it to successively
cover every part of the plate, when, after draining, it should be
coated a second time in the opposite direction. Now, the excess
of liquid having been drained in a vial, the coating should be dried
immediately by heating the plate and fanning, to prevent the crystal-
lization of the bichromate. When heating the plate, care should be
taken not to overheat it. At 150° F. the albumen commences to
coagulate and becomes insoluble. It is better not to exceed 90°
or 95°.

The reader knows that the processes on the films of any bichro-
mated compound, albumen, gelatine, gum arabic, etc., are based on
the insolubility of the films in the parts acted on by light, which
consequently form the photographic image. Hence, as said above,
it is essential not to overheat the plate, and to keep it in the dark-room
until wanted for use.

179

Digitized by

Google

The plate is exposed under an intense negative in line. The
exposure in the shade — exposing in the sun is objectionable — does
not require more than four or five minutes on a clear day ; fifteen to
thirty minutes in cloudy weather. When the negative is very
intense, which is always recommended for all the processes based
on the action of light on bichromated films, good results are obtained
by an exposure of, say, forty-five minutes, whatever be the state of
the weather.

On its removal from the printing-frame, the image is developed
by immersing the plate in cold water, which dissolves the albumen-
gelatine compound in the parts not acted on by light; the others,
being insolubilized, represent the picture. An immersion of about
ten minutes suffices. The picture is faintly visible by its reliefs when
seen at a certain angle. After the immersion, the plate is rinsed
under the tap to insure complete development of the picture in all
its details, the only defect arising from short exposures, whereby the
delicate details — lines — are washed off.

It now remains to color the almost invisible image. The dyes
employed are the aniline and the fast colors of alizarine, dissolved in
alcohol almost to saturation. The solution should be flowed on the
plate immediately after the development, that is, without drying.
The plate should then be drained, and the alcohol allowed to com-
pletely evaporate, the plate being laid in a horizontal position mean-
time. This done, it is washed under the tap to clear the ground, and
set aside to dry spontaneously.

If the ground is veiled — that is, if it retains a thin coating of
coloring matter, which happens when the negative is not sufficiently
intense, or when the plate has been over-exposed, the veil can be
removed by brushing, under water, with a soft brush.

i8o

Digitized by

Google

PROCESS WORK

i8i

Digitized by

Google

Digitized by

Google

SIMPLE METHOD OF PREPARING COLOR SCREENS

By Major-General J. Waterhouse, I.S.C.

THE following method of preparing color screens is only a
suggestion, as I cannot speak of its merits from practical
experience in working ; but it seems to have certain advan-
tages over screens made with dyed gelatin or collodion,
which, so far as I have tried them, have always shown more
or less structure. In this case there is absolutely no structure, and
the method is exceedingly simple and well adapted for experimental
purposes with suitable dyes. With a very few pairs of parallel
glasses or even single glasses, a great many combinations of colors
can be easily and quickly tried.

As a rule, the anilin dyes, though generally more or less soluble
in alcohol, are not soluble in turpentine, benzol, or other similar
solvents ordinarily used in making varnishes, but many of them
are soluble in the essential oil of cloves, which is rather an unctuous
and slow drying oil, so that a layer of it colored w ith dye and pressed
between two glasses forms a very homogeneous and clear colored
screen, the strength of which can be readily modified as desired.

On testing, I found the following dyes most suitable for the
purpose. As a rule the colors are not much affected by the solvent ;
but in some cases they are, and these have been noted in italics.

Reds.

Cyanosin (rich crimson) y Erythrosin, Eosin (blue shade) — the
yellow shades are not very soluble — Phloxin, Rose Bengal, Pyrosin
(scarlet), SaflFrosin, Rhodamin (fine violet), Rubin (violet), Soudan
(rich crimson), Safranin (Hue crimson), are all soluble.

Benzo-purpurin, Carmoisin, Primrose, are slightly soluble.

Acid Alaroon, Naphthalene Red, Persio, are insoluble.

Yellows.

Auramin, Azo- Yellow, Citronin, Azo-flavin, Tropseolin, Orange
R, Picric acid (deep orange), Uranin, Chrysoidin, are all soluble.

Tartrazin, Naphthol Yellow, Phosphin, Chrysoin, Vesuvin, Atlas
Scarlet, Brilliant Scarlet, Orange G, are insoluble or only slightly
soluble.

Greens.

Malachite, Green, Brilliant Green, Anilin Green (blue), Ethyl
Green, \^ictoria Green, Dragon Green, Bitter Almond Green, are all
very soluble.

Methyl Green and Naphthol Green are only very slightly soluble.

Acid Green, Aldehyde Green, and Cerulein are insoluble.

Viridin Green, which contains picric acid, dissolves with a strong
orange tint.

183

Digitized by

Google

Blues.

Victoria Blue, Azo-Blue (violet tinge), Methylene Blue (green-
ish), Nicholson's Blue (indigo), Night Blue, Nile Blue (greenish).
Benzyl Blue (violet), Bayer's Blue 4B (Prussian Blue), are all very
soluble.

Alizarin Blue is soluble with a red color.

Bleu de Lyon, New Fast Blue, Methyl Blue, Alkaline Blue
(greenish), Water Blue, are very slightly soluble.

Poirrier's Blue and London Blue are insoluble.

Violets.

Dahlia, Gentian Violet, Methyl Violet (6B), Ethyl Purple
(mauve), Spiller's Purple, Acid Violet (blue), Alkaline Violet
(bluish), are all fairly soluble.

Violet 4RN (Hofmann's) and Neutral Violet give crimson solu-
tions.

New Violet gives a neutral tint.

Coupier's Blue and Indigo-Carmine are slightly soluble, Indulin
less so, and Nigrosin quite insoluble.

The data given above will serve as a guide ; but it may be noted
that different makes of dyes sold under the same name may vary
considerably in their behavior with solvents.

THE AFTER-ACTION OF LIGHT IN THE
CHROMATE PROCESSES

By J. Gaedicke

(Translated by Henry Dietrich)

IN the carbon process, as well as all other chromate processes
which are based on the action of light upon or^nic substances,
making them insoluble when mixed with bichromates, the
so-called after-action of light plays an important part, the reason
of which has not yet been sufficiently cleared up. Abney
observed, 1872, that a carbon print, finished to three-quarters of its
correct printing time, and kept in the dark from twelve to fourteen
hours before being developed, will on development show sufficient
exposure. Eder gives for this apparent after-action of light the
following explanation (" Handbook," iv., p. 382) :

" This appearance is based upon the fact that the older chromate
gelatine becomes, the less soluble it is, particularly if it is kept in a
warm and damp atmosphere, and that in consequence of this tend-
ency, slightly exposed half-shadows, which, owing to short light-

184

Digitized by

Google

GRAND PRIZE PICTURE

By J. Ed. Rosch

St. LouU

Awarded by Missouri-Illinois PhocoKraphtc Con-
vention, St. Louis, August 23-25. The bronze
statue shown in the picture is the j)rize awarded.

ART HALF TONE

Engraved and Printed by

BARNES-CROSBY CO.,

Artists and Photo- Engravers,

Chicago and St. Louis, U. S. A.

Digitized by

Google

Digitized by

Google

action in printing become only slightly insoluble, will, after the
chromated film is allowed to age a little, become sufficiently insoluble
to resist the action of warm water in the washing of the film."

This explanation is undoubtedly correct, but it seems not to be
sufficient to demonstrate the strong degree of after action, amounting
to one-quarter of the entire light action. The self-decomposition of
the chromate gelatine appears to us to be only a helping factor in
this process, as proved by a closer investigation of the reduction
products of the chromic acid.

The chemical process taking place on the exposure of chrome
gelatine, should not be regarded as simply the formation of a brown
chrome superoxide out of the bichromate, which exercises a
strongly tanning action upon the gelatine, but, on the contrary, that
intermediate products between chromic acid and chrome superoxide
result. I have made several tests to explain this appearance.

The chrome oxide with the chromic acid forms a number of well-
defined compounds, which are so much the more soluble, the more
chromic acid they contain. Four distinct compounds of chrome
oxide with chromic acid have been known for a long time, namely :
The chrome-acid chrome oxide (also known as chrome superoxide,)
and the double, triple, and quadruple chrome-acid chrome oxide.
These compounds contain, in one equivalent of chrome oxide, one,
two, three, and four equivalents of chromic acid, with more or less
water. The first two are insoluble, the third dissolves with difficulty,
and the fourth dissolves easily in water. But besides these there is
still another compound which results, and which appears also to
exist in the strongly exposed chromate gelatine. Eder's determina-
tions of chrome oxide and chromic acid in the chromate gelatine lead
to the same formula as the analysis of the compound mentioned,
which contains, in three equivalents of chrome oxide two equiva-
lents of chromic acid, and contains water besides.

The following is a description of the three compounds of chrome
oxide and chromic acid most important for our purpose :

Chrome-Acid Chrome Oxide. — If a solution of 9.988 grams (one
equivalent) of chrome alum with 1.944 grams (one equivalent) of
single chromate of potassium and 3.36 grams (two equivalents) of
bicarbonate of soda is mixed and boiled, a brown precipitate is
obtained, which dries at 100® C, corresponding with the formula
Cr306+4N20. By boiling with diluted soda lye, it decomposes to
green chrome oxide and chromate soda. The chrome oxide was
weighed as such, and in the filtrate the chromic acid was determined
as chromate of lead.

This proceding in the analysis was also observed with the follow-
ing compound :

Two-thirds Chromic Chrome Oxide. — If a solution of 9.988
grams of chrome alum (one equivalent) is mixed with 3.888 grams
of single chromate of potassium (two equivalents) and 1.68 grams of
bicarbonate of soda (one equivalent), and then boiled, a bfown pre'

T^5

Digitized by

Google

cipitate will form, but this does not consist of bichromate chrome
oxide, as might be supposed according to theory. The reaction does
not take place smoothly, and bichromate of potash remains in the
solution, The brown body is decomposed in the heat by the diluted
soda lye into green chrome oxide and dissolved chromate of soda.
The analysis resulted in a composition of

3CrX)„2CrC)3 + i8N,0 = Cr^d^ + 18X.O.

If the reaction was not accomplished smoothly with these propor-
tions, single chromate chrome oxide might also have resulted
instead of the bichromate chrome oxide; but as neither of the two
formed, the two-thirds chromate chrome oxide must be looked upon
as the natural result.

Quadruple Chromate Chrome Oxide. — This is obtained if an
aqueous solution of 9.988 grams of chrome alum (one equivalent) is
poured into very diluted ammonia (8 c. c. ammonia with 20 c. c. of
water), the excess of the ammonia is boiled, and the precipitate of
hydrate of chrome oxide is then filtered and well washecl. The
hydrate of chrome oxide is carefully taken from the filter, when still
moist, put into a tray, and is poured over with 4 grams of pure
chromic acid (four equivalents) dissolved in a little water, in which
it dissolves easily. The deep, dark brown solution is evaporated over
the water-bath, and furnishes a gummy, brittle, dark brown sub-
stance, which dissolves without decomposition in diluted tartaric
acid, and will not become cloudy by boiling. A substance of quite
similar properties forms, together with a brown powder, if chromic
acid is added to alcohol of 96 per cent. It is the first reduction
product of the chromic acid.

All the three compounds mentioned pass into pure green chrome
oxide by strong heating and loss of oxygen ; but even at moderate
heat some chromic acid is decomposed, and chrome oxide is formed
in place of it. The analysis generally shows too high a chrome oxide
value. If dry heat is applied to remove all the water (and it is
advisable to dry the compounds at 100° C), it is then easy to deter-
mine the chrome oxide and chromic acid, and to find out the quantity
of water present from the difference.

To follow the printing process in the bichromate methods, it
should be remembered that the bichromate contains one-half of its
chromic acid so free, that, with some restriction of the intensity of
action, it can be considered as monochromate with chromic acid. In
explaining the process, the monochromate may, therefore, be neg-
lected, and only the actions of the chromic acid be explained.

If now% from an excess of chromic acid, 2 molecules of chromic
acid lose three molecules of oxygen in reduction, and form i mole-
cule of chrome oxide, this will at once absorb 4 molecules of chromic
acid, and will form quadruple chromate chrome oxide. This must,
therefore, be the compound first to originate. The further the reduc-
tion proceeds, so much richer the compound will become in chrome

186

Digitized by

Google

oxide, and as end product of the reduction the two-thirds chromate
chrome oxide will appear, but not the single chromate chrome oxide,
as has been so far generally accepted. Eder's analyses of chromate
gelatine, after an exposure of from two to three weeks, agree with
this theory. The proportion of chrome oxide to cliromic acid found
by him corresponds exactly to the formula

3Cr,0„2CrO, = Cr,0,.,

At one-quarter the time of exposure, the proportion of chrome oxide
to chromic acid, expressed in equivalents, was as 3 : 2.5, showing
more chromic acid, and was, therefore, apparently a mixture of two-
thirds chromate chrome oxide and quadruple chromate chrome
oxide.

The printing process which takes place in the chromate gelatine
will, therefore, proceed in such a way that on the surface there will
first form quadruple chromate chrome acid, which by further expo-
sure passes into two-thirds chromate chrome oxide. The brown
colored product will reduce the action of light upon the film under-
neath in such a way that only quadruple chromate chrome oxide, a
soluble substance, will originate. The printed picture will, therefore,
contain upon the surface insoluble two-thirds chromate chrome oxide,
and with lower film soluble quadruple chromate chrome oxide. If we
adhere to this fact, an influence upon the explanation of after
printing cannot be denied.

The quadruple chromate chrome oxide has very powerful tanning
properties, of which we can convince ourselves by immersing a sheet
of gelatine to one-half into the solution. The immersed gelatine
assumes a brown color, which cannot be removed by washing, and
becomes insoluble in boiling water. But the same also takes place if
the solution mentioned is diluted with an excess of bichromate solu-
tion. If we consider now, that the printed film is not absolutely
free from water, and that without doubt diffusion processes take
place therein, it is clear, that in the printed-out film in the deposit
between the lower picture film, which consists of quadruple chromate
chrome oxide, and the next following film, which consists of unde-
composed bichromate, by diffusion a connection will take place, in
such a way that the bichromate penetrates into the upper, and quad-
ruple chromate chrome oxide penetrates into the lower film. The
lower film will also be tanned thereby, that is, the action-bearing
deposit passes further into the depth of the picture film and intensifies
the action of light. This theory is further supported by the fact, that
the process of after-printing proceeds more quickly in a warm or
moist atmosphere than in a dry, cool atmosphere, both being condi-
tions which must accelerate the diffusion process. It is not impossi-
ble that, with an absolutely dry film in absolutely dry atmosphere, the
after printing would not take place.

These diffusion processes, perhaps, also play a part with the
apparently voluntary insolubility of the chromate gelatine, in such a

187

Digitized by

Google

way, that the product of atmospheric action upon the exterior surface
(which can be produced by a gas flame burning in the drying room),
affects the film to a considerable depth by diffusion ; because here it
has also been observed that the progress toward insolubility of the
film is much quicker in a moist and warm atmosphere than in a dry,
cool place, as, for instance, a chloride of calcium can.

The results of this investigation may, therefore, be summed up
in the following statement :

1. At strong action of the light, two-thirds chromate chrome
oxide originates in the upper film of the picture.

2. That the after-action of printing, besides the voluntary prog-
ress toward insolubility of the chromate gelatine, is based upon a dif-
fusion of the quadruple chromate chrome oxide into the unchanged
chromate gelatine lying underneath.

THE NODAL POINTS OF PHOTOGRAPHIC LENSES

By Commandant V. Legros

IN our article of last year we stated the fact that a photogram-
metric apparatus, such as the one which we defined the means of
constructing, may be considered as an instrument perfectly
appropriate to the determination of the geometrical invariability
of photographic lenses. In answer to the flattering invitation of
the Editor of the Annual, we think we cannot do better this year
than to return to this subject, and insist on the fact that an appa-
ratus so constructed lends itself particularly to the determination of
the position of the nodal points of the photographic lenses.

We remember that the apparatus in question may simply be the
first photographic apparatus at hand, mounted on a divided circle,
but characterized by the two essential peculiarities: that on the
ground glass be traced a precision quadrilateral, and that the camera
rest on a double platform, swung with hinges, and governed by a turn-
back screw, that, independently of the regular movements of the
arrangements of the circle, allows placing one of the systems of the
parallels of the quadrilateral perfectly vertical. It is not necessary
that the lines of the quadrilateral be numerous or very close, but it
is absolutely necessar\- that they be exactly placed at the dividing
machine and very finely traced. The precision measure of this quad-
rilateral is the measure itself of the precision of all the operations
carried out with the apparatus.

We also recollect that the focusing must be done by the method
defined by Mr. Clarence E. Woodman under the name of " parallactic
method." It consists in focusing by bringing from an exterior point
with the greatest care the image sharply defined in coincidence with
one of the intersecting points of the lines of the quadrilateral. Then

ifiS

Digitized by VjOOQ IC

one must verify if, in displacing the eye and the lens to be focused
with, the coincidence still exists, and, if to the contrary, modify the
focus in so far as it remains invariable.

In relation to the nodal points, the photographers who desire to
note the properties of the instruments they use, realize that the most
elementary demonstration given by all the works for the purpose of
explaining the course of luminous rays through photographic lenses
is in general but a rough approximation. In reality, the sole optical
centre through which this demonstration causes all the rays to pass
must nearly always be reduced to two points situated on the axis of
the lens, and more or less separated, and it is to these points that the
name of *' nodal points " is given. It is to the front nodal point that
all the luminous rays emitted by the exterior objects converge, and
from the back nodal point that these same rays diverge again to form
the photographic image. It is from this point that the focal length
must be exactly measured.

It is precisely the focal length taken from the back nodal point
that gives the method which we presented last year. It suffices to
measure by some means, for the same focus, the distance that sepa-
rates the centre of the ground glass from the surface of the lens
turned toward the glass, to obtain by difference the position of the
back nodal point in relation to the material elements of the construc-
tion of the lens. Ordinarily this point falls in the interior of the lens
in double lenses ; but it can be thrown out ; and even, very far, for
telephoto lenses.

One can also very easily determine the position of the front
nodal point, if, as it happens with the one we have, the apparatus
employed allows the lens to be screwed if desired either in the inte-
rior or in the exterior of the camera. We would not be understood
to claim that this way will give in every case equally correct images,
but it always gives some image, and this is all that is necessary for
our present object.

It is to be remarked that, with a photographic lens used outside,
the two focal lengths found must be identical ; but the position of the
nodal points in relation to the exterior faces of the lenses may be
very different from all quarters, if it does not relate to a lens exactly
symmetrical. The two focal lengths would cease to be identical if the
two faces of the lens were plunged in the centres of indexes of dif-
ferent refractions, as takes place in the immersion microscopic lenses,
in eyeglasses, or even in a photographic apparatus operating under
water, where, it is understood, the camera must be water-tight.

The consideration of the nodal points is of the greatest impor-
tance in all works of reproduction. The majority of works on pho-
tography give for enlargements and reductions, formulas of an ex-
tremely elaborate aspect for the inexperienced. In the galleries one
finds operators who consider themselves very wise, imagining that
they understand these formulas, and under this pretext look down
on their fellow-workers who hold themselves to the rule of thumb.

189

Digitized by

Google

Our excellent friend Anthony's Annlal reproduces every year for
the benefit of its numberless readers over all the world, the transla-
tion of these formulas in numerical tables. It is well known, how-
ever, that the only operator really irreproachable in all this is the
man of the rule of thumb. The formulas and the ciphers are, in
fact, equally wrong unless the worker restrict himself to measuring
the distance from the object, .starting from the front nodal point, and
the distance of the photographic plate from the back nodal point ; and
we do not know that the notion of the nodal points to the present day
is generally understood in the galleries for reproduction.

Generally, the interval of the nodal points (or interstices of the
knots) is quite weak, and for a natural size bust reproduction, for
example, if a difference of a quarter of an inch is found, the matter
is of little importance, more so as we have never believed that any
one has ever exactly defined what is understood by a portrait in
natural size. The same space would, however, become very disas-
trous if, for the reproduction of geographical charts in several hun-
dred sheets, as in this case one would hand the different sheets to
different operators, who would employ instruments with knot inter-
stices sensibly unequal, without further guide than a blind faith in
the formula.

We have been the first, we believe, to call attention, in our ** Ele-
ments de Pliotogrammetrie,"to the fact that, in the rotating apparatus
of the cylindergraph style, while it is from the back nodal point that
the photographic image irradiates, it is the front nodal point that, for
exact correction of the image, should find itself in the rotation axis.
At the same time, we call attention to the fact that this antagonism
does not exercise any influence whatever on the correction of photo-
grammetric operations, and our last year's article had for its object
to establish that, for the determination of the focal length of the lens,
the influence of this space, and even of a much greater space,
though real, is entirely to be neglected in practice, provided one
restricts oneself to effect the sightings in points at a sufficient dis-
tance from the apparatus. Concerning the pivoting apparatus, the
constructors have since that period endeavored to escape the dilemma
resulting from this property by admitting only lenses in which the
two nodal points are confused in one.

This condition can be realized; but it is a serious difficulty
imposed on the optician, who, moreover, has everything to resolve,
and further diminishes the chance to obtain a lens of exceptional
fineness. There is no special difficulty in determining by calculation
the conditions of establishing a lens at the interval of the knots equal
to zero ; but by sequence of the defect of an absolute homogeneity of
the first matter and of workmanship, and probably also by reason of
circumstances that still escape the most minute calculation, it happens
that the optician, once in possession of a lot of lenses made under
these conditions, finds that the collections furnishing the fineness of
the most exquisite image are not those that would appear to best

190

Digitized by

Google

answer the provisions of the theory ; and that the values of the spaces
from which result the most advantageous effects are sensibly differ-
ent from those determined by the calculation. The maker who only
aims at the perfection of the results, and the lenses that best procure
them, constructs them with the spaces that suit them best ; therefore,
the lenses of symmetrical type hardly ever present a complete sym-
metry, and do not have in their focal lengths the exact uniformity
implied by the catalogiies.

But any alteration of the shape, and moreover of the spaces of the
lenses of a composite lens, immediately affects the value of the inter-
stices of the knots, and this interstice appears in a type that should not
be permitted. Consequently, the maker of pivoting apparatus, forced
by the necessities of his system, must search, even at the cost of a
certain inferiority in the fineness of the obtained images, for lenses
in which the fusion of the two nodal points is effectively realized.
The operator in a gallery for reproduction, to whom the highest pos-
sible degree of fineness of these images is not material, must, above
all, find it in the lenses that he chooses. Only when he executes a
work requiring a certain precision, must he be modest enough to hold
himself to the empiric teachings ; or, being well versed in the mys-
teries of photographic optics, be not afraid to take the bull by the
horns and take into account the interstices of the knots. The tra-
ditional formula has, therefore, for him but the value of a first and
rough approximation, which allows him to appreciate a priori if
his apparatus have a sufficient length for the particular work he pro-
poses to exact from it.

A GOOD HALF-TONE ENAMEL, AND HOW TO
COAT A LARGE PLATE EVENLY

By 11. WooDBi'RV Shaylor, Jr.

A GOOD HALF-TONE ENAMEL.

A. — Eggs (albumen) 6 ounces.

Water 24

B. — Ammonium bichromate 270 grains.

Water 16 ounces.

C. — Le Page's glue 16 ounces.

D. — Ammonia 4 drams.

Take the albumen of sufficient eggs, say six or seven, to
make six ounces, and put them in a large bowl, beating with an
egg-beater to a stiff froth, then add eight ounces of water, and beat
again thoroughly. Keep adding water until you have used the
twenty- four ounces.

191

Digitized by

Google

Powder in a mortar your ammonium bichromate, and dissolve
in sixteen ounces of water, adding the water gradually.

Take sixteen ounces of Le Page's glue, mix with the albumen
solution, and add slowly the bichromate solution. With the egg-
beater beat vigorously for four or five miutes to insure perfect
assimilation.

If you wish to use the solution immediately, add four drams of
liquid ammonia; but, if convenient to let stand a few days, do
not add the ammonia. It is necessary to filter the solution two or
three times before using. This solution will keep two weeks or even
longer, and will work nicely.

HOW TO COAT A LARGE PLATE EVENLY.

Select your metal of the required size, and polish it with a buffing-
wheel, or, if a buffing-wheel is not at hand, use a piece of charcoal,
polishing it with the grain of the charcoal, and then crosswise of the
grain. You will find that this is next best to having a buffing-wheel
in producing a highly polished surface. Rinse the plate under the
tap,with a tuft of cotton to remove all charcoal dust, place on the
whirler, and whirl a few times to remove the surplus water. Flow
the enamel over the plate, and whirl rapidly to drive off all the water
possible. Flow the plate a couple of times more, and whirl again.
This time be sure to whirl the plate so that it revolves in two direc-
tions, i. e., turn it for a few minutes in one direction, and then reverse
the motion, revolving it in the opposite direction, continuing this
until the plate is perfectly dry. This method I have found to be of
great advantage on large plates, as it gives a more even coating all
over the plate. I have had considerable trouble with .large plates
from the corners not coating evenly, the two opposite corners having
a thicker coating than the two corresponding opposite corners,
causing lots of trouble in the printing. The method of revolving
the plate in different directions has overcome this difficulty, and
insures evenly coated plates.

RETOUCHING PHOTOGRAPHS FOR HALF-TONE
REPRODUCTION

By H. D. Farquhar

THE incessant advance of photo-engraving has naturally
piled obstacles seemingly mountains high before energetic
craftsmen following the art of making engravings by the
use of that most fascinating process, photography. During
the first decade, engravers and their patrons were satisfied
with results in half-tone cuts made from photographs as received
from the hands of the photographer. Ambitious desires to do better

192

Digitized by

Google

Engraved by

Teachinor-Bartbcrger ling. Co.,
Kansas City, Mo.

By Strauss

A PORTRAIT STUDY
From Complimentary Exhibit. P. A. of A.. 1899

Digitized by

Google

Digitized by

Google

or more attractive work have, however, caused a radical change, and
to-day a half-tone is seldom handed to the engraver before it has
passed through the hands of an artist, whose trained eye readily
discovers special features that are lacking, which must be sup-
plied in order to obtain artistic and pleasing effects. To accomplish
this, high lights are added and shadows strengthened. If the subject
in hand should be a machine, the chances are that the entire subject
would have to be gone over, drawing in detail, and showing special
features that were perhaps impossible to secure in the photograph.

The foregoing may seem to the layman very smooth sailing ; but
the mountain above mentioned will soon appear on the horizon, and
before the top is reached many experiments must be gone through.
A surface must first be prepared on the photograph which will permit
the drawing to be washed on smoothly. In order to accomplish this,
the photograph must be treated with some preparation which will
give the proper ground or foundation, and each kind of paper must
usually be handled or prepared in a different manner, depending on
the different brands.

Bromide paper is seldom encountered in this class of work, and
would cause little trouble to retouch, as it will usually take colors
without difficulty. Should Conte crayons be used, no trouble will
arise. By rubbing with powdered pumice-stone, a fine grain will
be produced suitable for crayon work.

For water colors, it is advisable to go over the print with
absorbent cotton dipped in a diluted solution of ammonia to remove
any grease that may be present.

Platinum paper is also easily worked, and can be treated the same
as bromide.

Carbon prints will require treatment with pumice powder, or by
washing with absorbent cotton dipped in water. This will cause
the gelatine surface to soften somewhat, and must not be used before
thoroughly becoming dry.

Aristo papers, being prepared with collodion emulsion, are per-
haps the most difficult of all papers to handle, owing to the peculiarity
of the coating, which has a very repellent action on water colors, as
if coated with some greasy substance, causing the colors to draw
together, in place of spreading smoothly and remaining so.

In order to combat such obstinate conditions, many theories have
been advanced, the following of which will give an idea of the
requirements :

If a very small amount of retouching is desired with pen and
India ink, an application of alcohol will suffice, using cotton to spread
and wipe off. Ox-gall can be used in a similar manner to good
advantage, and may under many conditions do better service than
alcohol. The application of saliva will make an excellent substitute
for either alcohol or ox-gall, should you be situated where the latter
are not available.

Where the entire surface is to be gone over with washes of

193

Digitized by

Google

Chinese white and India ink, the following preparation is com-
mendable :

Ox-gall I dram.

Alcohol 4 omices.

Carbolic acid 6 or 7 drops.

Water 6 ounces.

When thoroughly dry, the operation of retouching may be carried on.

Another method which will give satisfactory results, is to make a
size by dissolving gelatine in as much water as it will take up by
soaking for half an hour ; or by boiling some clean parchment cut-
tings until they form a clear solution, strain through muslin, and
apply in either case with a flat camel's hair brush.

The addition of a little ox-gall to drawing ink will prevent crawl-
ing on some surfaces, in which case subsequent preparation of the
photographs may be dispensed with.

A splendid idea is to use a suitable vehicle in which to mix or
dilute the colors used, and at the same time make them flow smoother
and become fixed when dry. A preparation of this kind can be made
as follows :

Take one-half ounce of dry egg albumen, and dissolve in two
ounces of cold water, which will take about twenty-four hours.
When thoroughly dissolved, add one dram of glycerine and eight
drops of ammonia, mix thoroughly, and filter through cotton.
Should this prove too thick, it may be diluted to any consistency with
water.

The above hints are gathered from practical every-day work,
and will, perhaps, be found of assistance in preparing photographic
prints of all kinds for the process worker.

Digitized by

Google

Photog^raphic Tables and
Formulas

DRY PLATE DEVELOPERS.

PYROOALLOL.

Cramer Plates.
No. I. — Alkaline Solution,

Carbonate of sodium crystals (sal soda) 5 ounces.

Sulphite of sodium, crystals lo "

Water 60

A smaller quantity of sulphite will produce a warmer tone, a
larger quantity a gray or bluish-black tone.

The alkaline solution must be kept in well-stoppered bottles.

If the negatives show yellow stain, make a fresh solution, or
try another lot of sulphite of sodium.

To prepare the alkaline solution with the hydrometer, mix
equal parts of the following solutions :

Carbonate of sodium solution Hydrometer 40°

Sulphite of sodium solution " 80"

No. 2. — Pyro Solution,

Dissolve I drachm of sulphite of sodium crystals in 6 ounces of
distilled or pure ice-water, add acetic acid until the solution turns
blue litmus paper red, and finally add i ounce of pyrogalHc acid.

Mix in the following proportions:

Pyro solution i drachm.

Alkaline solution i ounce.

Tepid water (for winter use) 2 ounces.

Or cold water (for summer use) 3 to 5 **

If the high lights are flat, use more pyro solution.
If they are too intense, use less pyro solution.
If too little pyro is used, the alkali will be in excess, and cause
fog. —

Carbutt's.
No. I. — Pyro Stock Solution.

Oxalic acid 15 grains, or i gram.

Bromide of potassium 30 " " 2 grams.

Distilled or ice-water 10 ounces, '* 300 c. c.

Then add Schering*s pyro, i ounce, or 30 grams, and water to
make 16 fluid ounces, or 480 c. c.

195

Digitized by

Google

No. 2. — Soda Stock Solution.

Sodium sulphite, crystals 4 ounces, or 120 grams.

Soda carb.,crystals(ordry gran. I ounce) 2 " "60 "

Potash carbonate i ounce. " 30 "

Water 10 ounces, " 300 c. c.

Dissolve and add water to make measure 16 fluid ounces, or
480 c. c.

No. 3. — Bromide Solution.

Bromide of sodium or potassium >4 ounce, or 14 grams.

Water 5 ounces, '* 150 c. c.

For Developer.

Dilute 2 ounces of Stock No. 2 with 7 ounces of water for cold
weather, and 10 to 12 ounces of water in summer. To 3 ounces of
dilute No. 2, add ij/i to 234 drams, or 6 to 10 c. c, of No. i. The
more pyro, the denser the negative, and vice versa. No yellowing
or fogging need be apprehended if the directions are followed.
Development should be continued until the image seems almost
buried, then wash and place in fixing bath.

Ifistantaneous Exposures.

For instantaneous exposures, take for a 5 x 8 or 6j!4 x 8j4 plate
3 ounces of dilute No. 2. Lay the plate to soak in this, and cover
pan. Put 2 drams of No. i into the graduate, and 3 drops of
bromide solution. Pour the soda solution off of the plate into the
pyro and back over the plate ; let development proceed, and examine
occasionally. Keep solution in gentle motion over the plate. A
very short exposure may take ten minutes to fully develop. If
the image is not fully brought out by this time, add to developer
in pan three times its bulk of water, and let plate lie in it covered
for half an hour or more if necessary, until full development is
attained ; then wash, and proceed with fixing.

Hammer.

The following two pyrogallic acid formulas are reconunended
if strong, vigorous negatives are wanted. The quantity of sul-
phite of soda in the developer must be regulated to produce the
color desired. If a developer, made according to either formula,
produces negatives too cold and gray in tone, reduce the amount
of sulphite until the quantity is found that produces the best color
or tone. In many cases it may be reduced one-half and produce
better results; in some cases it may even have to be increased.
This is regulated entirely by local conditions, such as quality of
the water, condition of the sulphite soda, etc. :

196

Digitized by

Google

PYROOALLIC ACID DEVELOPER WITH CARBONATE OF SODA.

No. I.

Sulphite of soda, crystals 5 ounces, or 150 grains.

Carbonate of soda, crystals 2j^ " " 75 "

Pure water 30 *' " 900 c. c.

No. 2.

Oxalic acid 15 grains, or i gram.

Pyrogallic acid i ounce, " 30 grams.

Pure water 24 ounces, " 720 c. c.

To develop, take:

Solution No. i i ounce, or 30 c. c.

Solution No. 2 Yi " " 15 c. c.

Pure water 3 ounces, ** 90 c. c.

More water may be used in warm weather, and less in cool
weather.

See that the developing solutions are not too cold in cold
weather, nor too warm in warm' weather. This applies to all
developers.

If Solution No. i is made by hydrometer test, use equal parts
of the following :

Sulphite of soda Hydrometer 80 **

Carbonate of soda " 40"*

One ounce of this mixture will be equivalent to one ounce of
Solution No. i.

PYROOALLIC ACID DEVELOPER WITH CARBONATE OF
POTASSIUM.

No. I.

Sulphite of soda, crystals 8 ounces, or 240 grams.

Carbonate of potassium, dry i ounce, " 30 "

Pure water 32 ounces, " 960 c. c.

No. 2.

Oxalic acid 15 grains, or i gram.

Pyrogallic acid i ounce, " 30 grams.

Pure water 24 ounces, " 720 c. c.

To develop, take:

Solution No. i i ounce, or 30 c. c.

Solution No. 2 J4 " " 15 "

Pure water 3 ounces, " 90 "

When the plate is fully developed, if the high lights are too
thin, use less water in the developer ; if too dense, use more water.

197

Digitized by

Google

WUESTNER.

No. I. — Pyro Stock Solution.

Sulphite of soda, crystals i6 ounces.

Pyrogallic acid 2 "

Sulphuric acid, C. P lo drops.

Water 84 ounces.

No. 2. — Soda Stock Solution.

Sal soda, crystals 8 ounces.

Water 84 "

Developer.

Take 2 ounces of No. i and 2 ounces of No. 2, and add 8 ounces
of water.

This developer may be used repeatedly as long as it remains
clear, but will work slower and with more intensity when old.
Therefore, the fresh developer is best for short exposures, and the
old is better if the plate has been full timed. In using the sal
soda developer, it is very important to carry the development far
enough, until the lights have sufficient intensity when examining
the plate by transmitted light.

Over-exposure is corrected by adding to each ounce of devel-
oper from 2 to 4 drops of solution of bromide of ammonium,
I ounce to 10 ounces of water, or by putting the plate into a weak
solution of bromide of ammonium, i to 50 water, before the develop-
ment has proceeded too far, and then returning it to the developer
to gain sufficient intensity.

If under-exposure is noticed, take the plate out of developer,
and without draining put into soda solution. Sufficient developer
will remain in the film to develop the shadows, the lights being
prevented from gaining too much density in this way.

Eastman. (For Films.)

No. I.

Pyrogallic acid J/2 ounce.

Nitrous or sulphurous acid 20 minims.

Water 32 ounces.

No. 2.

Sulphite of soda, crystals 6 ounces.

Carbonate of soda, crystals 4 "

Water 32

To develop, take:

No. I I ounce.

No. 2 I "

Water 2 ounces.

198

Digitized by

Google

Eastman. (For Plates.)

No. I.

Sulphite of soda, crystals 6 ounces.

PyrogalHc acid i ounce.

Water 32 ounces.

No. 2.

Carbonate of soda, crystals 4 ounces.

Water 32

To develop, take:

No. I I ounce.

No. 2 I

Water 3 to 4 ounces.

In warm weather use more water, in cold less.

Seed.

No: I.

Sulphite of soda, crystals 4 ounces.

PyrogalHc acid i ounce.

Sulphuric acid (in winter use acetic acid) 10 drops.

Distilled or good well-water 16 ounces.

No. 2.

Sal soda, crystals 4 ounces.

Water 16 "

To develop, take:

No. I I ounce.

No. 2 I "

Water 8 ounces.

In above developer, for double-coated plates use 18 ounces of
water.

BY HYDROMETER TEST.

No. I.

Clear sulphite of soda solution, hydrometer 60° 18 ounces.

PyrogalHc acid i ounce.

Sulphuric acid (in winter use acetic acid) 10 drops.

No. 2.
Sal soda solution Hydrometer 40°

To develop, take:

No. I I ounce.

No. 2 I

Water 8 ounces.

199

Digitized by

Google

In above developer, for double-coated plates use i8 ounces of
water.

More water gives flatness, and less water contrast. Use less
water in cold weather.

ABC PYRO DEVELOPER

Sulphite of soda, crystals 3^ ounce.

Pure water lo ounces.

Add enough pure acetic acid to this to turn blue litmus paper
slightly red, then add :
Pyro I ounce.

Sulphite of soda, crystals 4 ounces.

Water 16 "

Sal soda, crystals 4 ounces.

Water 16 "

To develop, take:

A Yz ounce.

B I

C I "

Water 8 ounces.

In above developer, for double-coated plates use 18 ounces of
water.

Less of B will give a warmer tone to negative. If the negatives
are too yellow use more of B. If it is found during the summer
months, and in the South, that acetic acid softens the film too much,
substitute sulphuric acid.

BY HYDROMETER TEST.
A

Sulphite of soda, crystals J/^ ounce.

Water 10 ounces.

Add enough pure acetic acid to this to turn blue litmus paper
slightly red, then add :
Pyro I ounce.

B
Sulphite of soda solution Hydrometer 60**

C
Sal soda solution Hydrometer 40**

200

Digitized by

Google

Digitized by

Google

Digitized by

Google

To develop, take:

A J4 ounce.

B I

G -. I "

Water 8 ounces;

In above developer, for double-coated plates use i8 ounces of
water.

Seed. — (For Non-Halation Plate.)
No. I.

Sulphite of soda, crystals 4 ounces.

Pyrogallic acid i "

Sulphuric acid 10 drops.

Distilled or good well water 16 ounces.

No. 2.

Sal soda 4 ounces.

Water 16 "

To develop, take:

No. I I ounce.

No. 2 I "

Water 8 ounces.

In above developer, for double-coated plates use 18 ounces of
water.

New York.
No. I. — Pyro Stock Solution.

Distilled or ice water 10 ounces, or 300 c. c.

Sulphite of soda 4 " " 120 grams.

Dissolve, then add :

Pyrogallic acid i ounce " 30 c. c.

Water to make up to 16 fluid ounces, " 480 **

No. 2. — Soda stock Solution.

Distilled or ice water 10 ounces, or 300 c. c.

Sol soda 4 " " 120 grams.

Dissolve, then add :
Water to make up to 16 fluid ounces, " 480 c. c.

No. 3. — Bromide Solution.

Bromide of potassium J4 ounce, or 14 grams.

Water 5 ounces, " 150 c. c.

To develop, take:

No. I, Pyro stock solution i ounce, or 30 c. c.

No. 2, Soda stock solution i " " 30 "

Water 6 ounces, " 180 "

301

Digitized by

Google

BY HYDROMETER TEST.

No. I.
Make stock solution of sulphite of soda to test 60® with
hydrometer ; allow to settle perfectly clear ; then take :

Sulphite of soda solution 16 ounces.

Pyro I ounce.

Sulphuric acid 10 drops.

Or oxalic acid 10 grains.

No. 2.
Sal soda solution Hydrometer 40°

To develop, take:

No. I I ounce.

No. 2 I

Water 8 ounces.

J. Ed. Rosch's Formula for E. A. Extra Resublimed Pyro.

Prepare the alkaline solution with the hydrometer, mixing equal
parts of the following solution :

Carbonate of sodium solution Hydrometer 30**

Sulphite of sodium solution ** 70"

Pyro Solution.
Dissolve I drachm of sulphite of sodium crystals in 6 ounces of
distilled or pure ice water, add acetic acid until the solution turns
blue litmus paper red, and finally add i ounce of pyrogallic acid.
Mix in the following proportions :

Pyro solution i drachm.

Alkaline solution I ounce.

Tepid water (for winter use) 2 ounces.

Or cold water (for summer use) 3 to 5

E. H. Newell's Formula for E. A. Extra Resublimed Pyro.
No. I. — Soda Stock Solution.

Carbonate of soda Hydrometer 40°

Sulphite of soda " 60°

Add together.

No. 2. — Pyro Stock Solution.

Pyro I ounce.

Oxalic acid 10 grains.

Water 6 ounces.

To develop, take:

Soda solution i ounce.

Pyro solution i dram.

Water 2 ounces.

202

Digitized by

Google

J. S. Schneider's Formula for E. A. Extra Resublimated Pyro.

No. I.
For Stock Solution take equal quantities of :

Sulphite of soda Hydrometer 65**

Carbonate of soda " 45**

No. 2.

Pyro I ounce.

Water 6 ounces.

Three or four drops of sulphuric acid, or just enough to turn
blue litmus paper red.

To develop, take:

No. I I ounce.

No. 2 I dram.

Water 3 ounces.

PYRO-METOL.

Hammer's.
No. I.

Sulphite of soda, crystals 2^/2 ounces, or 75 grams.

Metol I ounce, ** 30 "

Pure water 57 ounces, " 1710 c. c.

No. 2.

Sulphite of soda, crystals 2^ ounces, or 75 grams.

Pyrogallic acid Y^ ounce, ** 8 grams.

Pure water 57 ounces, ** 1710 c. c.

No. 3.

Carbonate of potassium 23^ ounces, or 75 grams.

Pure water 57 " *' 1710 c. c.

To develop, take:

Solution No. i i ounce, or 30 c. c.

Solution No. 2 i " "30 "

Solution No. 3 i " " 30 **

Pure water 3 ounces, " 90 **

This developer may be used repeatedly by adding a little fresh
developer as required.

Keep the used developer in separate bottle.

It combines the desirable qualities of metol and pyro, and gives
an ideal negative.

203

Digitized by

Google

Wuestner's.

No. 2.

Oxalic acid % ounce.

PyrogalHc acid i "

Metol (Hauff's) %

Bromide of potassium i6 grains.

Water i6 ounces.

No. 2.

Sulphite of soda, crystals 8 ounces.

Carbonate of soda 4 "

Water 64

To develop, take:

No. I I ounce.

No. 2 5 ounces.

Water 2 to 4

MBTACARBOL.

Metacarbol 25 grains.

Sulphite of soda, crystals 100 "

Sodium hydrate (caustic soda) 50 "

Water 10 ounces.

Dissolve the metacarbol in the water, add the sulphite of soda,
and, when this is dissolved, add the sodium hydrate, and filter.
With this developer the time of exposure is considerably reduced.

Another formula is :

Metacarbol J4 ounce.

Caustic soda i "

Sulphite of soda 2 ounces.

Water 50

First dissolve the metacarbol and caustic soda in a little of the
water (hot), and then add the sulphite of soda and the rest of the
water.

For use, take i ounce of this solution and 2^4 ounces of water.
Use this repeatedly, by adding a little fresh solution from time to
time.

Another formula, recommended by John Strathmann, is :
A. — Metacarbol (dissolved in 3 1-3 ounces water) . . .25 grains..

Sulphite of soda, hydrometer 15** 31-3 ounces.

B. — Sodium hydrate Hydrometer 20**

For use take :

A 2 ounces.

B I ounce.

Water 3 ounces.

For under-timed plates use more of B. For over-timed plates
use less of B, or use old developer.

204

Digitized by

Google

HYDROCHINONB.

Carbutt.

Sulphite of soda, crystals 4 ounces, or 120 granis.

600 c. c.
960

Sulphuric acid i dram,

Hydrochinone 360 grains,

Bromide of potassium 30 "

Warm distilled water 20 ounces,

Water to make up to 32 "

Carbonate of potash 2 ounces, or 60 grams.

Carbonate of soda, crystals 2 '* '* 60 "

Water to make 32 ** " 960 c. c.

C. — A ccelerator.

Caustic soda i ounce, or 30 grams.

Water 10 ounces, " 300 c. c.

For under-exposure, add a few drops of above to developer.

D. — Restrainer,

Bromide of potassium Yz ounce, or 14 grams.

Water 5 ounces, " 150 c. c.

To develop.

For instantaneous Exposures, take : A, 1 ounce, or 30 c. c. ;
B, I ounce, or 30 c. c. ; Water, 4 ounces, or 120 c. c.

For Portraits : A, i ounce, or 30 c. c. ; B, i ounce, or 30 c. c. ;
Water, 5 ounces, or 150 c. c.

For Landscapes (Sen 20-27): A, i ounce, or 30 c. c. ;
B, y2 ounce, or 15 c. c. ; Water, 3 ounces, or 90 c. c.

For Landscapes, Full Exposure (Sen. 16-20) : A, i ounce, or
30 c. c. ; B, ^ ounce, or 25 c. c. ; Water, 4 ounces, or 120 c. c.

For Lantern Slide: A, i ounce, or 30 c. c. ; B, ^ ounce, or
25 c. c. ; Water, 4 ounces, or 120 c. c.

For Lantern Slides and Full Exposures : A, i ounce, or 30 c. c. ;
B, ^ ounce, or 25 c. c. ; Water, 4 ounces, or 120 c. c. ; and 2 to 6
drops Restrained D to each ounce of developer.

Note. — More of A will increase density. More of B will increase
detail and softness. Temperature of developer should not vary
much below 65** nor above 75**. The after-treatment is much the
same as with any other developer.

For Lantern Plates, Process Plates, and Large
Transparencies.

No. I. — Hydrochinone Solution.

Sulphite of soda, crystals i ounce.

Sulphurous acid J4 "

Water (distilled or boiled), warm 10 ounces

205

Digitized by

Google

Mix with 2 ounces of cold water and add slowly to the sulphite
solution, then add :

Hydrochinone lOO grains.

Bromide of potassium 30 "

Water to make the whole measure 15 ounces.

No. 2. — Alkali Solution,

Carbonate of soda, crystals i ounce.

Carbonate of potash J/^ "

Water 3 ounces.

Water to make the whole measure 5 "

To form a developer, mix one part of No. 2 with three parts
of No. I.

Seed.

For Transparency Plates.

Hydrochinone 120 grains.

Sodium sulphite, crystals i ounce.

Water 16 ounces.

Caustic soda 60 grains.

Potassium bromide 60 "

Water 16 ounces.

Ammonium carbonate 120 grains.

Ammonium bromide 120 **

Water 16 ounces.

Ribbon. Distance. Developer. Color.

}i inch I foot A i oz., B i oz Green.

I " I *' A I oz., B I oz., C 2 dr Brown.

1 " I ** A I oz., B I oz., C 3 dr Purple.

2 inches i ** A i oz., B i oz., C 3 dr Red.

BROMO-HYDROCHINONE DEVELOPER.

For producing Great Contrast and Intensity, also for developing
Over-Exposed Plates,

No. I.

Sulphite of soda, crystals 3 ounces.

Hydrochinone J4 ounce.

Bromide of potassium % "

Distilled or ice water 25 ounces.

206

Digitized by

Google

No. 2.

Carbonate of soda, crystals 6 oiiace$.

Water 25

Mix equal parts of Nos. i and 2 for use.

This developer is excellent for copying pen drawings and engrav-
ings, and for all purposes where great density of the lights and clear
glass in the shadows are required.

Byk's.

Hydrochinone 5 grams

Potassium carbonate 75 '*

Soditmi carbonate 40

Water to make 1000

Mix in reverse order. Use full strength.

Dr. Just's.

No. I.

Hydrochinone 10 parts.

Sulphite of soda 60

Distilled water 240

No. 2.

Carbonate of potassium 120 parts.

Acetic acid 15 "

Distilled water 480 "

To develop, mix the solution in equal parts for use. The
best results are obtained by commencing development with an old
or once-used developer, and, when development is half completed,
applying fresh.

MiETHE.

No. I.

Sulphite of soda 35 grams.

Yellow prussiate of potash 30 "

Hydrochinone 7

Water 550 c. c.

No. 2.

Caustic potash 30 grams.

Water 550 c. c.

To develop, use three parts of No. i, and two to three parts of
No. 2, according to exposure and desired density.

207

Digitized by

Google

Edwards.

Carbonate of soda, granulated loo grains.

Sulphite of soda, crystals 480 "

Hydrochinone 100

Water 14 ounces.

Use full strength.

Dr. Piffard's.

Sodium sulphite 480 grains.

Sodium carbonate 960 **

Hydrochinone 96 "

Water 16 ounces.

Mix and filter. This developer may be used repeatedly.

BIKONOQBN.

No. I.

Sodium sulphite, crystals 2 ounces.

Eikonogen, finely powdered i ounce.

Water 40 ounces.

No. 2.

Potassium carbonate i ounce.

Water 10 ounces.

To develop, take 3 ounces of No. i and i ounce of No. 2. As
a restrainer, use a few drops of a 10 per cent, solution of potassium
bromide.

Eastman.

No. I.

Sulphite of soda, crystals 3 ounces.

Eikonogen i ounce.

Water 60 ounces.

No. 2.

Carbonate of potash 3 ounces.

Water 30 **

To develop, take:

No. I 2 ounces.

No. 2 I ounce.

Water 2 ounces.

If you desire to have the developed negative of a warm tone, add
100 grams pyrogallic acid to No. i stock solution.

208

Digitized by

Google

Engraved by

fVilliafHson-Haffncr Eng. Co.,
Denver, Colo.

STUDIO WORK

By S. L. Stein

Digitized by

Google

Digitized by

Google

Wuestner's for Portraits and Landscapes.
No. I.

Sulphite of soda, crystals 3>4 ounces, or 115 grams.

Oxalic acid i dram, " 4 "

Eikonogen 2>4 ounces, " 75

Yellow prussiate of potash ^ ounce, " IS **

Distilled water 80 ounces, ** 2400 c. c.

Dissolve the eikonogen in hot water.

No. 2.

Carbonate of potash 2 ounces, or 60 grams.

Distilled water 20 " " 600 c. c.

Developer:

Take 4 ounces of No. i and 1/2 ounce of No. 2.

For aristo paper printing, to obtain thin negatives, dilute the
developer more. For more intensity, add 10 grams of hydrochinone
to No. I.

New York.

No. I.

Distilled or ice water 60 ounces.

Eikonogen i ounce.

Sulphite of soda, crystals 3 ounces.

Sulphurous acid ^ ounce.

Dissolve the eikonogen in 30 ounces of the water, warmed.
Dissolve the sulphite in 20 ounces, and dilute the acid in 10 ounces.
Pour the sulphite solution into the eikonogen, then add the acid to
the whole. Never pour the eikonogen into the sulphite solution.

No. 2.

Carbonate of soda, granular 4 ounces.

Water 40

To develop, take:

No. I 4 ounces.

No 2 4 "

Water 5 "

Add 10 drops of a 10 per cent, solution of bromide of ammonium.
In hot weather increase the water to 10 ounces.

This developer can be used repeatedly by occasionally adding
more of solutions No. i and No. 2.

To obtain thin negatives, full of detail, such as are required
for printing on Aristo paper, use the developer more diluted.

After development, wash thoroughly under tap, and immerse
in fixing bath.

209

Digitized by

Google

BIKONOOEN-HYDROCHINONB.

Carbutt's.
A.

Sulphite of soda, crystals 4 ounces, or 120 grams.

Eikonogen 330 grains, ** 22

Hydrochinone 160 " " loyi **

Distilled water 20 ounces, ** 600 c. c.

Water to make up to 32 " *' 960

Carbonate of potash 2 ounces, or 60 grams.

Carbonate of soda, crystals 2 ** ** 60 "

Distilled water 20 ** " 600 c. c.

Water to make up to 32 *' " 960 *'

To develop, see Carbutt's Hydrochinone Developer.

Seed.

No. I.

Sodium sulphite, crystals 4 ounces.

Eikonogen : 240 grains.

Hydrochinone 60 "

Distilled or pure well water 32 ounces.

No. 2.

Carbonate of potash 4 ounces.

Water 32

To develop, take:

No. I 2 ounces.

No. 2 I ounce.

Water i **

In above developer, for double-coated plates use 5 ounces of
water.

More water gives less contrast and density.

BY HYDROMETER TEST.
No. I.

Sodium sulphite solution, hydrometer 30° 34 ounces.

Eikonogen 240 grains.

Hydrochinone 60 "

No. 2.
Carbonate of potash solution Hydrometer 50°

To develop, take:

No. I 2 ounces.

No. 2 I ounce.

Water i

210

Digitized by

Google

Root's Developer.
No. I.

Sodium sulphite, crystals 2^^ ounces.

Eikonogen i ounce.

Hydrochinone }i "

Water 64 ounces.

No. 2.

Potassium carbonate, dry 2^/^ ounces.

Water 64

To develop, take two parts of No. i and one part of No. 2,
and old developer to give best results.

FERROUS OXALATE.

Neutral oxalate of potash, saturated solution. Protosulphate
of iron, saturated solution. Sulphuric acid, 10 drops.

To develop.

Oxalate solution 10 ounces.

Iron solution 2 "

Old (used) developer 2 *'

FOR TRANSPARENCIES AND OPALS.

Carbutt's.
A.

Oxalate of potash 8 ounces.

Citric acid 60 grains.

Citrate of ammonia solution 2 ounces.

Water 30

Sulphate of iron 4 ounces.

Sulphuric acid 16 drops.

Water 32 ounces.

C. — Citrate of Ammonia Solution.
Dissolve I ounce of citric acid in 5 ounces of distilled water ; add
liquor ammonia until a slip of litmus paper just loses the red color ;
then add water to make the whole 8 ounces.

Developer,

Add I ounce of B to 2 ounces of A and ^ ounce of water, and
3 to 6 drops of 10 per cent, solution of bromide of potassium.

To develop, first rinse developing dish with water, lay film or
plate down, and flow with sufficient developer to well cover. Careful
attention must be given to its action, and, when detail is just show-
ing in the face, or half-tone lights in a view, pour off the developer,
and well wash the film before fixing.

211

Digitized by

Google

MBTOL.

Seed.

No. I.

Metol loo grains.

Sodium sulphite, crystals i ounce.

Water 8 ounces.

No. 2.

Potassium carbonate i ounce.

Water lo ounces.

To develop, take:

No. I I ounce.

No. 2 I "

Water 6 ounces.

MBTOL AND HYDROCHINONE.

Hammer.

No. I.

Metol I ounce, or 30 grams.

Hydrochinone ]^ " " 4 "

Sulphite of soda, crystals 6 ounces, " 180 "

Pure hot water 80 " " 2400 c. c.

No. 2.

Carbonate of soda, crystals 5 ounces, or 150 grams.

Pure water 80 " " 2400 c. c.

To develop, take:

Solution No. i i ounce, or 30 c. c.

Solution No. 2 i " " 30 "

Pure water 2 ounces, " 60 "

Formula for a Small Quantity of the above Developer.

No. I.

Sulphite of soda, crystals 1 50 grains, or 10 grams.

Eikonogen 60 " " 4 "

Hydrochinone 8 " " J^ gram.

Pure water 8 ounces, " 240 c. c.

No. 2.

Carbonate of potash, dry 150 grains, or 10 grams.

Pure water 8 ounces, " 240 c. c.

To develop, take:

Solution No. i 2 ounces, or 60 c. c.

Solution No. 2 i ounce, " 30 "

Can be used repeatedly until exhausted.

212

Digitized by

Google

New York.

Sulphite of soda solution, hydrometer 25 '^ 12 ounces.

Carbonate of soda solution, hydrometer 15*" 12 "

Metol 50 grains.

Hydrochinone 60 "

To develop, take i ounce of solution to 2 ounces of water.

For instantaneous or undertimed exposures, use equal quantities
of the solution and water.

Cramer.

Thoroughly dissolve:

Metol y^ ounce.

Hydrochinone J4 "

In water 80 ounces.

Then add :

Sulphite of soda, crystals 4 ounces.

Carbonate of soda, crystals 2j4 "

To prepare this with hydrometer, mix:

Sulphite of soda solution, hydrometer 60** 20 ounces.

Carbonate of soda solution, hydrometer 30** 20 "

Dissolve the following :

Metol /4 ounce.

Hydrochinone 54 "

In water 40 ounces.

For summer use, dilute the developer with an equal quantity
of water, also for large plates, so that the development does not
proceed too rapidly and can be properly controlled.

If negatives of less contrast are desired, use less hydrochinone
and more metol.

Seed.

For Black-Tone Transparency and Lantern Plates.

No. I.

Metol .- 30 grains.

Hydrochinone 30 "

Sodium sulphite, dry 120 "

Water 16 ounces

No. 2.

Potassium Bromide 15 grains.

Sodium carbonate, dry 120 "

Water 16 ounces

If the crystallized sulphite and carbonate are used, take twice as
much of each as the formula calls for. To develop, take equal

213

Digitized by

Google

parts of No. i and No. 2. Developer should not be lower than
75** F. in winter, and not higher than 70° F. in summer, and can be
used repeatedly, but should be discarded as soon as discolored, as
it will then stain the film. Always develop to a good intensity, as
plates developed with hydrochinone fix out somewhat. Rinse and
fix.

MBTOL-BICARBONATE.

Gramer.

Thoroughly dissolve

Metol I ounce.

Water 60 ounces.

Add sulphite of soda, crystals 6 "

Bicarbonate of soda 3 "

To prepare with hydrometer, mix:

Sulphite of soda solution, hydrometer 75° 30 ounces.

Bicarbonate of soda solution, hydrometer 50° 30 "

Metol (dissolved in 12 ounces of water) i ounce.

This developer has excellent keeping qualities, works very
uniformly, and can be used repeatedly, without difference in the
results. The bicarbonate of soda being a very mild alkali, it is
not liable to injure the film or fog the plate.

AMIDOL.

Sodium sulphite, crystals. 120 grains.

Amidol 20 "

Water 10 oimces.

This developer should always be used fresh.

Or:

Sodium sulphite, crystals 800 grains, or 52 grams.

Amidol 80 " " 5 "

Water 8 ounces, " 240 c. c.

To develop, take four parts of water and one part of amidol
solution.

BROMO-HYDROCHINONE DEVELOPER.

Cramer.

For producing Great Contrast and Intensity, for developing
Over-exposed Plates.

No. I.

Sulphite of soda, crystals 3 ounces.

Hydrochinone Yi ounce.

Bromide of potassium J4

Distilled or ice water 25 ounces.

Dissolve by warming and let cool before use.

214

Digitized by

Google

No. 2.

Carbonate of soda, crystals 6 ounces.

Water 25

Mix equal parts of No. i and No. 2 for use.

RODINAL.

Hammer.

Rodinal i part.

Pure water 30 "

Use repeatedly, adding fresh as required.

GLYCIN-PYRO.

For Transparencies, Process Plates, and Lantern Slides.
Wuestner's.

After having given the plate the same time of exposure as you
would for iron oxalate or hydrochinone developer, place it in the
following solution for half a minute :

Glycin 2 grams.

Carbonate of potassium 16 "

Bromide of potassium (5 grains) 1-3 gram.

Water 17 ounces.

Use in quantity to suit size of plate.

For a 5 X 8 plate, use 4 ounces of the above solution, and after
half a minute, before the image has made any appearance, add
i^ to 2 ounces of the following solution :

Sulphite of soda, crystals 75 grams.

Pyrogallic acid ^ ounce.

Sulphuric acid, C. P 5 drops.

Water 12 ounces.

The image will appear immediately and develop quickly in
beautiful roundness and extreme clearness.

It is not advisable to mix both solutions at once, as the result
will not be as good as by the foregoing method, as you can control
the development at will by the greater or less addition of pyro solu-
tion, which hastens or retards the development according to quantity
used.

After development, rinse the positive well and fix in an acid
fixing bath. With this developer the toning of the positive is
unnecessary.

The color of the picture will be the same as that of a plate which
has gone through a gold bath toning solution.

215

Digitized by

Google

QLYCIN.

Glycin 5 parts.

Sodium sulphite 15 "

Potassium carbonate 25 "

Water 90 "

For use, dilute with 3 or 4 volumes of water.

TOLIDOL.

The following formulas give the proportions of chemicals
required for one ounce and for sixteen ounces of water used.

One Ounce.

Tolidol 11/2 grains .

Sulphite of soda, C. P., dfy 4>^ " (9 gr. crys.)

Carbonate of soda, C. P., dry 6 " 05 gr. crys.)

Water i ounce.

Sixteen Ounces.

Tolidol 24 grains.

Sulphite of soda, C. P., dry 72 " (or 144 gr. crys.)

Carbonate of soda, C. P., dry 96 '* (or 240 gr. crys.)

Water 16 ounces.

For Tank Development,

Dr. John M. Nichol recommends the Standard Formula diluted
with eight times the amount of water, and the addition of one drop
of retarder to every ounce after the dilution.

To obtain very Strong Negatives especially adapted for Aristo
Platino paper, and in order to develop in the shortest possible
time, the following formula may be used:

One Ounce.

Tolidol , 3 to 4 grains .

Sulphite of soda, dry 5 " (^o gr. crys.)

Carbonate of soda, dry 7/4 " ( 18 gr. crys.)

Water i ounce.

Sixteen Ounces.

Tolidol 50 to 65 grains.

Sulphite of soda, dry ; . " 80 " (or 160 gr. crys.)

Carbonate of soda, dry 120 " (or 300 gr. crys.)

Water 16 ounces.

On the same brand of plates a little additional retarder will be
necessary.

216

Digitized by

Google

Engraved by By Don C, Scott

Electro Light Eng. Co.,
New York
A CONVENTION PRIZE WINNER, P. A. OF A., 1899

Digitized by

Google

Digitized by

Google

ORTOL.

Dr. Eder's Formula.

No. I.

Metabisulphite of potassium 7.5 grams, or i dram 55 grains.

Ortol 15 " " 4 drams.

Water, cold 1000 c. c. " 34 fluid ounces.

No. 2.
Crystallized sulphite of soda .... 180 grams, or 5 oz. 6 dr. 8 gr.
Crystallized carbonate of soda. . . 120 " *' 3 oz.6 dr. 52 gr.

Bromide of potassium i to 2 " ** 15 to 30 grains.

Water 1000 c. c. " 34 fluid ounces.

In winter time the bromide may be omitted. For gallery work,
mix equal parts of No. i and No. 2. For landscapes, mix i ounce
each of No. i and No. 2, and dilute with i ounce of water.

FIXING BATHS FOR PLATES.

Sodium hyposulphite 2 ounces.

Water 10

pr:

Sodiimi hyposulphite 2 ounces.

Acid sulphite of soda J^ ounce.

Water 10 ounces.

This bath is somewhat reducing in its action, and will be found
useful in clearing muddy or stained negatives.

Another.

Hyposulphite of soda 2j4 pounds.

Alum 2 ounces.

Water 4 quarts.

Eastman.

Hyposulphite of soda 4 ounces.

Water 16 "

Leave the plate in the bath a few minutes longer than is required
for fixing. This is important, as the permanency of the negative
depends upon it.

In hot weather, the best prevention from softening of the
film is to make a fresh hypo bath each day just before it is needed.
Laying the plate for a few minutes m a clear, saturated solution of
alimi just before fixing will also act beneficially.

Hemperley's.
Take thirty-two ounces of sulphite of soda, hydrometer 60**,

217

Digitized by

Google

add to this one ounce of sulphuric acid very slowly, and eight ounces
of solution of chrome alum, hydrometer 60°, then add the whole to
two gallons of saturated solution of hyposulphite of soda, and it is
ready for use.

Leave the negatives a few minutes longer in the bath than is
required for fixing. This is important, as the permanency of the
negative depends upon it. Do not use a flat tray to fix in; it
causes spots and dirt. Use a grooved box.

Laborie's.

Bisulphite of soda 100 grams.

Hyposulphite of soda 150 *'

Water 1000 c. c.

Carbutt's.

Sulphuric acid i dram, or 4 c. c.

Hyposulphite of soda 16 ounces, " 480 grams.

Sulphite of soda 2 " " 60 "

Chrome alum i ounce, " 30 "

Warm water 64 ounces, ** 1920 c. c.

Dissolve the hyposulphite of soda in 48 ounces, or 1440 c. c, of
water; the sulphite of soda in 6 ounces, or 180 c. c, of water; mix
the sulphuric acid with 2 ounces, or 66 c. c, of water, and pour
slowly into the sulphite of soda solution, and add to the hyposul-
phite; then dissolve the chrome alum in 8 ounces, or 240 c. c, of
water, and add to the bulk of solution, and the bath is ready. This
fixing bath will not discolor until after long use, and both clears up
the shadows of the negative and hardens the film at the same time.

After negative is cleared of all appearance of silver bromide,
wash in running water for not less than half an hour to free from
any trace of hypo solution. Swab the surface with wad of wet
cotton, rinse, and place in rack to dry spontaneously.

Cramer.

The negatives may be fixed in a plain hypo bath, i part hypo-
sulphite of soda to 4 parts of water, but the following bath is
especially recommended.

Prepare two solutions:

No. I.

Hyposulphite of soda 48 ounces.

Water 96 " (3 quarts) .

No. 2.

Water ■. 32 ounces.

Add, gradually, sulphuric acid ^4 ounce.

Sulphite of soda, crystals 4 ounces.

Chrome alum 2 "

218

Digitized by

Google

After the ingredients are dissolved, pour No. 2 solution into
No. I.

During the cold season, one-half the quantity of No. 2 is
sufficient.

This bath combines the following advantages: it remains clear
after frequent use, does not discolor the negatives, forms no pre-
cipitate upon them, and hardens the gelatine to such a degree that
the negatives can be washed in warm water, provided they have been
left in the bath a sufficient time.

The plate should be allowed to remain in the bath five to ten
minutes after the bromide of silver appears to have been dissolved.
The permanency of the negative and freedom from stain, as well
as the hardening of the film, depend upon this.

Seed.

No. I.

Sodium hyposulphite 2 pounds.

Sodium sulphite, crystals 4 ounces.

Water 96

No. 2.

Chrome alum 2 ounces.

Sulphuric acid 34 ounce.

Water 32 ounces.

Pour No. 2 into No. i while stirring rapidly.

Seed.

Fixing Bath for Transparency Plates.

Hyposulphite of soda i pound.

Sulphite of soda, crystals 2 ounces.

Water 64

Chrome alum i J4 ounces.

Sulphuric acid, cone i dram.

Water 16 ounces.

While stirring A vigorously, pour in B. This bath will keep,
but it should be filtered occasionally.

Wuestner.

Hyposulphite of soda 25 ounces.

Saturated chrome alum solution 5 "

Water 100

This bath is good until the greenish-blue color turns brown,
when a fresh bath must be made.

219

Digitized by

Google

Hammer.
Acid Chrome Alum Fixing Bath.

This may be used in hot weather, and is to be mixed in the order
given ; then it will always work clear.

Sulphuric acid 3 drams.

Sulphite of soda 4 ounces.

Water (about) lOO "

When this is about half dissolved, add 2 pounds of hyposulphite
of soda; after the hypo is dissolved, add from i to 2 ounces of
chrome alimi dissolved in 20 ounces of water; then add enough
water to make 160 ounces.

Another formula for preparing a highly concentrated *' acid
chrome alum sulphite solution " can be made up in any quantity,
and added to the fixing solution — one ounce to each gallon of solu-
tion as needed — to harden the film in hot weather. Make a solution
of sulphite of soda in water testing 60° by hydrometer; to each
32 ounces of this add i pound of chrome alum ; when this is dis-
solved, add slowly 2 ounces of sulphuric acid.

Acid Fixing Bath.

This is better than a plain bath, and is to be mixed in the order
given. Always works well and remains clear.

Sulphuric acid 3 drams.

Sulphite of soda 4 ounces.

Water (about) 120 "

Stir well until at least half of the sulphite is dissolved, and then
add hyposulphite of soda, 2 pounds, and water to make 160 ounces.

INTENSIFICATION.

After fixing and washing thoroughly, immerse in a tray con-
taining the following: i ounce each of bichloride of mercury and
potassium bromide, dissolved in 32 ounces of water. Keep in
motion until the film is evenly whitened, then rinse and apply a
solution of sulphite of soda, i ounce, to water 10 ounces.

For very slight intensity, use above solutions diluted to suit the
case.

Cramer.

Prepare a saturated solution of bichloride of mercury in water,
and gradually pour of this a sufficient quantity into a solution of

Iodide of potassium 1% ounces.

Water 6

until the point is reached, when the forming red precipitate will no
longer dissolve by shaking, but be careful not to add more mercury

220

Digitized by

Google

than just enough to make the solution very slightly turbid. Now
add

Hyposulphite of soda i ounce,

dissolve, and add water to make 20 ounces of solution.

For use, this should be diluted with about three parts of water.
If the plate has not been thoroughly fixed, the intensifying solution
will produce yelllow stains. Be careful not to overdo the intensi-
fying. Should it have gone too far, the negative can be reduced
by placing it in the fixing bath for a short time.

Hammer.

No. I.

Bichloride of mercury 60 grains.

Bromide of potassium 60 "

Water 6j4 ounces.

No. 2.

Sulphite of soda }^ ounce.

Water 4 ounces.

Place the negative in solution No. i until bleached; then rinse
and place in solution No. 2 until entirely cleared; after which the
plate must be well washed. This operation may be repeated if
there is not sufficient intensity gained by first treatment.

Carbutt.

With correct exposure and development, intensification need
never be resorted to. The following formula is, however, very
eflfective, and the most permanent of all methods :

No. I.

Bichloride of mercury 240 grains, or 16 grams

Chloride of ammonia 240 " ** 16 "

Distilled water 20 ounces, " 600 c. c.

No. 2.

Chloride of ammonia 240 grains, or 16 grams.

Water 20 ounces, ** 600 c. c.

Let the plate to be intensified wash for at least half an hour,
then lay in a 5 per cent, solution of alum for ten minutes, and
again wash thoroughly; this is to insure the perfect elimination
of the hypo. The least trace of yellowness after intensifying
shows that the washing was not sufficient; then immerse negative
in above No. i solution, observing that the longer it remains in the
solution the greater will be the final density. Wash well, and flow
over for a few seconds the solution of ammonium chloride No. 2.
Wash iifter this application, and immerse in dilute ammonia water
(i dram of strong ammonia in 8 ounces of water) until the white

221

Digitized by

Google

image is darkened through to back of plate ; or in place of the dilute
ammonia, a lo per cent, solution of sulphite of soda. When
darkened through, rinse well and set up to dry.

Scolik's Method.

The fixed and well-washed negative is allowed to remain in
the following mercuric chloride bath until the film is thoroughly
whitened :

Mercury bichloride i part.

Potassium bromide i "

Water 50 parts.

The bleaching being complete, the mercuric solution is rinsed
off, and the negative is immersed in a mixture of equal parts of a
saturated solution of sodium sulphite and water. Finally, wash
well.

Liesegang's Method.

No. I.

Sulphate of copper 75 grains.

Potassium bromide 75 **

Water 6>^ ounces.

No. 2.

Nitrate of silver 90 grains.

Water 4 ounces.

Place negative for ten minutes in No. i, wash it for five minutes,
and immerse it No. 2 until blackened.

REDUCTION.

Dissolve I part of red prussiate of potash in 15 parts of water.
Wrap the bottle in yellow wrapping-paper, as the solution is
affected by light and will not keep long. Immerse the negative
in a hypo solution — i part hypo to 15 parts of water — to which
has been added a little of the above immediately before use. When
reduced sufficiently, wash thoroughly.

Seed's Reducer.

No. I.

Red prussiate of potash 15 grains.

Water i ounce.

No. 2.

Hypo-soda 240 grains.

Water 16 ounces.

Take No. i, 4 drachms, and add to No. 2.

222

Digitized by

Google

When the negative is thoroughly fixed and washed, lay into
the above solution until sufficiently reduced. Wash after
immersion.

CLIMAX REDUCER.

To reduce a negative, it is immersed in a solution made by
mixing equal parts of the following :

No. I.

Red prussiate of potash i ounce.

Water 20 ounces.

No. 2.

Hyposulphite of soda i ounce.

Water 20 ounces.

Several negatives may be reduced with the same solution. If
very little reduction is needed, reduce the solution by adding water.
Not necessary to wash before reducing.

Cyanide Reducing Solution.

Cyanide of potassium 20 grains.

Iodide of potassium 10 "

Bichloride of mercury .10 **

Water 10 ounces.

Reduction takes place slowly and is easy to control. After
reducing, the negative should be washed thoroughly.

Another Method.

No. I.

Hyposulphite of soda, crystals yy2 grains.

Water 8 ounces.

No. 2.

Ferricyanide of potassium 76 grains.

Water 6 drams.

To reduce, use No. i, 5 ounces ; No. 2 drams.

Another Method.

Potassium ferricyanide i ounce or 30 grams.

Distilled or melted ice water 16 fluid ounces or 500 c. c.

Keep the above solution in the dark when not in use. To
reduce a negative, immerse it in hypo solution of a strength of about

223

Digitized by

Google

one ounce of hypo to a pint of water, to which a small quantity of
the reducing solution has been added. To reduce locally, immerse
the plate for a few minutes in water and apply the mixed solution
with a camel's hair brush to the part required. Silver stains may
also be removed after wetting the plate by brushing them over
with the solution. At the end, wash thoroughly. The ferri-
cyanide solution must be added to the hypo at the time of using,
as the mixed solutions do not keep.

Bartlett^s Reducer.

Perchloride of iron 30 grains.

Citric acid 60 "

Water i pint.

DEVELOPMENT POINTERS.

A developer containing a surplus of alkali effects more detail
in the shadows and lessens the intensity of the high lights, which
causes more softness in the negative, consequently such a developer
suits well for under-exposed plates, which explains why for under-
exposures a preliminary bath in a soda solution or ammonia solution
is used to advantage.

A large number of developing substances, such as pyro,
eikonogen, metol, hydrochinone, and glycin, quickly intensify the
high lights, and hasten the development, so that the shadows
remain far behind ; therefore a modification by little over-exposure,
dull lighting, or soft-working plates, is of good service.

The developer diluted with water slows the process of develop-
ment, gives the shadows more of a chance to work through before
the high lights have gained their strength, prevents contrast, and
therefore is recommended for contrasty plates or under-exposure.

The old or used developer acts the same as bromide, checks
the development, and clears, and is used when plates are greatly
over-exposed or a general fog is apparent.

The room in which plates are handled and developed must be
a perfectly dark room, save for the light from a small ruby or
orange-colored window (or one containing a combination of these
colors), by which the progress of development can be watched.
If possible, have an abundance of pure running water, and provide
good ventilation. You will have better negatives and better health
by so doing.

The window in your dark-room which illuminates the sensitive
plate during the process of development must be as non-actinic
as possible. There is no such thing as a perfectly safe light.
Any light of sufficient illuminating power to be of practical use
will affect a very sensitive plate, if given time enough ; it is there-

224

Digitized by

Google

Digitized by

Google

Digitized by

Google

fore necessary to use great care in developing. The best and
safest light for your dark-room window is a combination of ruby
glass and orange paper, commonly called post-office paper. This
is easier on the eyes than ruby glass alone, and by its use the quality
of the negative may be more easily determined. Use a lamp or
gas-jet outside to illuminate the window, as it is safer and more
uniform than daylight.

A soft camel's hair brush may be used to remove the dust from
plates before placing them in the holder or dark slide. If the
brushing is done hurriedly, the film will be instantly electrified and
attract to itself more dust than you remove.

When plates are exposed and set away for future development,
be sure to set them face to face, as they were in the original boxes.
If the face or film is placed against the back, you will probably
have finger-marks on the film, caused by the fingers coming in
contact with the backs of the plates while placing them in the
holder.

It is advisable to use a fresh solution of hyposulphite of soda
each day during the hot weather. The fresh solution hardens -the
film, and alum will not be necessary.

Thorough fixing and thorough washing, followed by quick
drying, will insure permanency and fine printing quality in the
negative.

During the hot season the developer must be used more diluted
and cold (by placing in ice-cold water), while during the cold
season it should be stronger and moderately warm, about 70° F.

Developer, which is too strongly alkaline, or too warm, produces
stain and fog.

As soon as over-exposure is noticed in developing, check it
immediately by plentiful washing and finish with the regular devel-
oper, to which has been added bromide or old developer.

An undertimed plate should be treated with a fresh, diluted
developer, and if sufficient detail does not appear, take the plate
from the developer, and, without rinsing, place it in a tray con-
taining water, to which a little of the alkaline solution (sulphite and
carbonate of soda) has been added, and leave it there as long as it
increases in detail. If it is not then strong enough, the develop-
ment may be continued in fresh developer.

To prevent sand or rust from striking the negatives while
washing, tie a piece of cotton flannel over the faucet.

Negatives exposed to white light before the bromide of silver
is thoroughly dissolved in the fixing solution will be foggy, and the
printing quality will be injured.

A solution of bromide of potassium (one ounce of bromide to
ten ounces of water) should be in every developing room. When
plates are a little over-exposed, a few drops of this solution added
to the developer will restrain its action and may thus produce a
good negative from what would otherwise be a worthless plate.

225

Digitized by

Google

DEFECTS IN NEGATIVES.

Foggy Negatives.— Caused by over-exposure; white light
entering camera or dark-room; too much light during develop-
ment; decomposed pyro; introduction of hypo or nitrate of silver
into the developing solution from the fingers or from tablets used
for wet plates; developer too warm or containing too much car-
bonate of soda or potassium.

Weak Negatives with Clear Shadows. — Under-development.

Too Strong with Clear Shadows. — Under-exposure.

Weak Negative with Plenty of Detail in the Shadows. —
Want of intensity, caused by over-exposure. Short exposure with
longer development will, in most cases, produce sufficient intensity,
and the adition of more pyro stock solution to the developer will
seldom be necessary.

Fine Transparent Lines. — Using too stiff a brush in dusting
off plates.

Transparent Spots and Pin-Holes. — Dust on plate or in
camera, or scum on old developer, or air bubbles while developing.
Developer must be perfectly clean.

Crystallization on the Negative and Fading of Image. —
Imperfect elimination of the hypo.

Yellow-Colored Negatives are caused by not using enough
sulphite of sodium in developer, or if the article used is old and
decomposed.

Yellow Stains are caused by using old hypo bath which has
assumed a dark color, or by not leaving plate in hypo bath long
enough.

Mottled Appearance of Negative is caused by precipitation
from fixing bath containing alum, if the solution becomes old, or
if it is turbid.

ORTHOCHROMATIC SENSITIZING BATHS.

Victor Schumann.

Alcohol lo parts.

Ammoni^ii 90° 4

AlcohoHc solution of cyanine, i : 200 10

Distilled water 200

Immerse the plate in water containing a little ammonia (3 parts
per 100) for two or three minutes, and then place in the above solu-
tion, drain, and dry.

Mallman and Scolik.
Preliminary Bath,

Ammonia 2 c. c.

'■ Water 200 "

Soak the plate for two minuates.

226

Digitized by

Google

Color Bath.

Erythrosin solution, i : looo 25 c. c.

Ammonia 4 "

Water 175 "

The plate should not remain longer in this bath than one and
a quarter minutes. A longer time reduces the general sensitiveness.

Another.

Alcohol 500 c. c.

Chinoline red i gram.

To which add 50 c. c. of a solution of

Alcohol 500 c. c.

Chinoline blue (cyanine) ; . i gram.

The above solution is identical with the liquid dye sold under
the name " azaline."

Another.

Bathe the plates for about two minutes by a very feei)le red
light in

Erythrosin solution, i : 1000 50 parts.

Distilled water 100 "

Silver nitrate solution, 1 : 1000 50 "

Ammonia, sp. gr. 0.96 2 "

Keep this solution in the dark-room. These bathed plates will
remain clear for about seven days.

Color Screen.

x\urantia 0.3 part.

Warm alcohol 50 parts.

Ether 50

Pyroxiline 2 "

Dissolve the aurantia (not aurine) in the alcohol, then add the
ether and pyroxiline, and filter. Coat thin polished plate glass,
and attach to inner side of lens board. If not dense enough, coat
again, or use two screens together. The darker the screen the
longer the exposure, but the better the orthochromatic effect.

MANIPULATION OF AMERICAN ARISTO PAPERS.

Trays.

Trays should always be large enough to enable one to wash
prints without tearing.

All trays should be thoroughly cleansed before using, by scouring
with bicarbonate of soda, and rinsing well with clear water.

227

Digitized by

Google

Flattening Aristo Paper.

Herein lies the chief secret in working collodion gloss paper
successfully, without fear of curling or breaking at the edges. It
is perfectly easy after a trial or so. A large, smooth-bottom tray
should be used, and about one-half inch of water placed in it. The
prints are now taken and placed face down in this water, one at a
time, by sliding them in one on top of another, and keeping them flat
on the bottom. Be sure a print is thoroughly wet before another is
placed on top of it. The prints should not be placed in the tray in a
regular pile, as this allows the edges to curl over each other, but
should be piled irregularly well over the bottom of the tray, partially
covering one another.

After all prints are in, pour off water and put on fresh water.
Keep prints flat and rock the tray for five minutes (this will avoid
red streaks), pour off water and press them down with flat of hand,
allowing all water to drain out. Now stand tray on edge and
allow prints to drain for five minutes. Then pour plenty of water
over them, and proceed to wash by separating prints and handling
over.

.\risto Blue Label.
Printing.
Print but slightly deeper than desired when finished. Print
deeper if dark tone is desired. If bold, good toning prints are
desired print under two or three thicknesses of tissue. Avoid
touching face of prints unnecessarily until the toning bath is
reached.

Toning.

Blue label has great latitude in toning and will work in any good
gold bath if not too strong. Very little gold is required. If prints
tone on margin quicker than in centre, the bath is too strong, and
should be reduced with water. A print should take at least six to
eight minutes to reach a good warm tone. Fast toning gives weak
color ; slow toning a rich deposit of gold and a vigorous print. A
neutral bath in which neither red nor blue litmus will change color,
gives the best average results.

In sections where the water is alkaline or very hard, simply gold
and water is sufficient to make an effective bath ; with rain or soft
water add saturated solution of borax or any of the sodas to bring
the bath to a neutral point. Never use a fresh bath ; make it up
several hours before using, and give it time to ripen.

After Toning.

As prints come from the toning bath, throw into a tray of water
made slightly acid by a few drops of acetic acid. Some prefer a
slight salt solution. With small batches, running water will be
sufficient.

228

Digitized by

Google

Fixing.

Fix in hypo bath io° to 12'' hydrometer test, or one ounce
saturated sokition hypo to every 16 to 18 ounces of water. Have
plenty of bath to cover prints thoroughly, and keep prints separated.
Fifteen to twenty minutes will be sufficient time.

Final Washing.

Finally, wash carefully. It is the frequent and complete change
of water that washes the hypo from a print, not continuous soaking.
One hour in running water that changes completely every few
minutes is sufficient, or seven or eight changes of water if prints are
washed by hand.

Aristo Junior.

Print about two shades darker than desired when finished
Flatten prints as directed, and wash through six changes of clear
water, handling prints over each time, then tone in the following
bath:

Salt 30 grains.

Saturated solution of acetate soda yi ounce.

Aristo gold i dram.

Water 60 ounces.

Sal soda or borax, enough to turn red litmus paper blue in four
or five minutes.

Make this bath up from four to five hours before use. Add
gold enough to keep speed of bath six to eight minutes.

Tone in this bath to any point you desire prints when finished.
After toning place in clear water. When ready to fix, rinse thor-
oughly through two clear waters.

Fix in plain hypo, 15 grains by hydrometer test, for fifteen
minutes. Wash one hour in running water. Mount with any good
fresh paste and dry quickly.

Note i. — In cold weather always temper all water to about
65° or 70°.

Note 2. — The salt in the toning bath restrains the high lights
from overtoning, and brings the high lights and shadows up clear
at the same time, also saving the fine detail in white drapery.

Note 3. — Acetate of soda is a neutral salt. It will not make bath
alkaline.

Note 4. — Muddy shadows and yellow whites and lack of bril-
liancy mean that your bath is too alkaline. Blue edges to the
vignettes and bleaching in toning bath signifies an acid bath.
Remedy: Add a few drops of alkaU.

229

Digitized by

Google

Aristo-Platino and Platinum Tones.

Printing,

Aristo Platino paper, in a general way, should be printed plain.
Print until the high lights are well tinted. Pay no attention to
the shadows, no matter how much they bronze. Do not be afraid
of printing too deep.

Washing.

Wash through six changes of clear water, handling prints over
each time. In washing paper there are two things to eliminate:
the free silver and the keeping chemicals, and unless prints are
thoroughly prepared for toning, they will not tone thoroughly and
evenly.

The Gold Bath.

When prints are thoroughly washed, tone in the following bath
to a purple, not a blue :

Salt 30 grains.

Aristo Gold i dram.

Water 60 ounces.

Borax enough to turn red litmus paper blue in three or four
minutes.

The gold toning bath should be made up from four to five hours
before use. Add enough gold to keep speed of bath six to eight
mmutes. Do not make the bath too strong, as the print will tone
before the whites clear up. If prints show bleaching in the whites,
add a little more alkali. An acid toning bath bleaches out the detail
in the whites, and also makes pink whites in the finished prints.
But a too strongly alkaline bath gives yellow whites. See note on
" Gold Toning Baths," page 233.

The character of platinum tones is controlled in the gold
bath. If prints are taken from the gold bath a chocolate brown,
they will make beautiful olive tones. Prints toned to a purple will
make black tones, and prints toned to a blue will make blue-black
tones. By bearing this in mind it is possible to get any tone desired.
But in every case tone far enough in the gold bath to thoroughly
clear the whites. After toning, throw prints into clear water until
all are toned.

Washing After Gold Bath.

Wash prints in three changes of clear water by handling prints
over. Do not try to wash by placing in running water. It will
not do it. It is very important to wash prints thoroughly after
they come from the gold bath ; to wash out any free gold that may
be on the prints, as gold precipitates platinum, and unless prints
are well washed, the platinum will be precipitated on the
bottom of the tray, and not on the print. Again, never use the

230

Digitized by

Google

regular gold toning tray for platinum bath, as all such trays have
more or less gold deposited on bottom and sides, and this will pre-
cipitate your platinum also. It will not only waste platinum, but
prints toned through both baths in same tray will tone down to a
muddy blue-black, and if kept in long enough the whites will turn
yellow.

Toning in the Platinum.

After prints are washed, tone in the following bath :

Aristo platinum 3 to 5 drams.

Water 60 ounces.

Add platinum enough to keep speed of bath from eight to
fifteen minutes.

A mistake photographers have made in toning Aristo Platino
with platinum is, they have not toned long enough in the platinum
bath. When prints first go into this bath the whites become muddy.
But in a short time they commence to clear up. And by keeping
prints in this bath until the whites are thoroughly clear, and every
trace of brown or purple is out of the deepest shadows, you will
get most beautiful effects. Don't be afraid of leaving them in the
platinum bath until the desired color and richness you wish is
obtained.

When prints come out of the platinum bath it is very important
to wash them thoroughly through three changes of water before
fixing, because the platinum bath is extremely acid, and it is abso-
lutely necessary to wash the acid out of the prints ; if you do not,
you carry it into the hypo, and produce sulphuration and yellow
whites. This is the reason that all hypo baths containing much alum
or acid hardeners are dangerous, as the acid releases the sulphur
in the hypo and produces sulphuration in the prints that will ruin
them sooner or later — and the photographer also.

After prints are washed, fix in plain hypo, 18 grains strong,
hydrometer test, for fifteen minutes, and then wash by hand through
ten or twelve changes of water, and they are ready to mount.

Using Platinum Bath Over,

One-half the old platinum bath with one-half fresh bath added,
and used over the next time, makes richer tones than a fresh bath.
See note on " Platinum Toning Baths,'* page 235.

Pink Whites,

Pink whites are caused by not having the gold bath alkaline
enough. They are also caused by washing and toning prints in a
strong light.

Yellow Whites,

Yellow whites may come from prints not being toned far enough
in the gold bath, or from too much alkali in gold bath, or from

-J3»

Digitized by

Google

trying to wash prints in running water, between gold and platinum
baths, or between platinum bath and hypo. Running water will not
do. Prints should be washed by hand and the water changed.

IVcak Prints,

Weak looking prints very often come from not printing dark
enough. Try three prints, one as you have been printing, the
second a shade darker, the third darker still; tone them all out,
select the best, and you have the depth to print.

Weak looking prints more often come from improper toning
in the gold bath than any other cause. Always tone in the gold
bath until the shadows are a warm brown (for olive tones). If
the whites have cleared, and are in danger of bleaching, add more
alkali to hold back the whites until the shadows tone. Never take
them out a bricky red in the shadows. If you do you are in danger
of having weak, muddy shadows, and a dirty olive tone out of the
platinum bath. If you desire rich, strong shadows out of the plati-
num bath, you must have rich, strong shadows out of the gold
bath.

Weak prints often come from thin, weak negatives. Weak
prints can come from printing in the cold, chilling the paper and
negatives, and can be prevented by printing in a warm place.

Slow Toning.

Slow toning in platinum bath is often caused by not using the
proper kind of phosphoric acid in making up the platinum toning
solution. Use full strength phosphoric acid, U. S. P. 1890. You
cannot be too careful. It is better, however, to use Aristo Platinum
for the best results.

Slow toning in platinum bath is very often caused by the water
you use, very alkaline water precipitating the platinum. Sec
remarks on " Water," page 239.

Black Spots.

Black spots are caused mostly by small particles of iron rust in
the water, and generally come from the inside of the water pipes,
from iron pumps, or iron roofs. This trouble can be helped by
using a filter. A piece of chamois over your faucet will generally
prevent the trouble.

White Spots.

White spots are caused by insufficient handling in hypo bath
and by not handling in the washing water after fixing; also by
not drying fast enough. Sometimes they are caused by drying
between cheap blotters and newspapers.

232

Digitized by

Google

Engraved by
Art Engraving Co.,
St. Paul, Minn.

By Moore & Stephenson

FROM CONVENTION PRIZE EXHIBIT
P. A. OF A., 1899

Digitized by

Google

Digitized by

Google

Rubbed Places.

Rubbed places on face of prints which do not show until prints
are dried, are caused by rubbing the face of the prints on the bottom
of the tray during washing and toning. When you have this trouble
handle your prints face up.

Rubbed or marred places on the face of prints may also be caused
by heavy pressure of fingers on the back of prints when pouring off
washing waters.

Sepia Tones.

To make sepia tones on Aristo Platino, print about two shades
darker than desired when finished. Wash through two changes of
clear water ; then place prints in a strong salt solution — 2 ounces of
salt to a gallon of water. Keep in salt water for five minutes, until
they redden up. Then wash through two more changes of clear
water, and tone in the following bath :

Aristo Gold >4 dram.

Water 60 ounces.

Sal soda enough to make red litmus turn blue in ten minutes.

Work this bath just slightly alkaline. Just clear the whites, and
place in stop solution of salt water, after which fix for fifteen
minutes in hypo bath, 10° hydrometer test. Add two ounces
salt to each gallon of fixing bath. No matter if prints do look
yellow in fixing bath, they will come all right in the washing and
drying.

Another IV ay.

Print about two shades darker than desired when toned. Wash
through five changes of clear water, and tone in a plain gold bath.

Aristo Gold >^ dram.

Water 60 ounces.

Work this bath just slightly acid. Keep prints in this bath just
long enough to clear the whites, then place in clear water and wash
through one water.

To the same gold bath add another half dram of Aristo Gold.
Now add alkali enough to turn red litmus paper blue in a couple of
minutes. Place prints back in this bath and tone the shadows to
the point you desire when finished. When toned place in clear
water and fix in a plain hypo bath, 12° hydrometer test, for fifteen
minutes. All papers for sepia tones should be at least thirty days
old.

Gold Toning Baths.

In toning in the gold bath it is important to watch several points.
One of which is to see that the high lights and shadows are both
toning equally. It is a good plan to look through the print by trans-
mitted light, and if you find the same tone as appears on the surface.

233

Digitized by

Google

you are toning down into the emulsion, and your tones will hold in
the hypo bath. But if the print looks purple on the face, and when
you look through it the shadows look red, you can depend upon it
you are getting only a surface tone, and when the print goes into the
hypo the surface tone will cut off and you will have the tone you
see looking through. The reason is, you have not washed all the
free silver off your print, your gold is depositing in this free silver,
and when the print goes into the hypo bath the free silver cuts off
and takes your tone with it. By the use of salt in the gold bath you
avoid this. The salt also restrains the high lights from overtoning,
and enables the shadows to tone up at the same time. The salt
also saves the fine detail in your white draper}'.

Should you find in toning that your whites are bleaching, it is
because your bath is not alkaline enough, so add a few drops of
alkali. On the other hand, if your prints refuse to clear up, and
tone out dead and flat, it is because your bath is too alkaline, in
which case add a little acid gold or a drop of citric acid. In toning
Aristo Platino paper, if you do not have your gold bath alkaline
enough, you will get pink whites in the platinum bath. Always
remember pink whites mean that your gold bath was not alkaline
enough.

It is impossible to give the exact amount of alkaline to use.
Almost all waters are alkaline. The litmus paper test must guide
you in this. Study and test the water you work with, and you will
not have any trouble in making nice prints. All gold baths should
be made up from four to five hours before use, and a good plan is
to make up a fresh bath after you get through toning for use next
time, only adding enough gold to ripen the bath (about i grain) ;
when ready to tone, add gold enough to make speed of bath six to
eight minutes, and the proper amount of alkali. A ripened bath will
work much smoother than a fresh one. Many printers like to use
one-half old and one-half new bath. Acetate of soda will not have
any effect on a toning bath, unless added one hour before use.
Acetate of soda will always keep your tones rich and brilliant. In
making up a gold bath remember that neutralizing with sal soda
gives warm tones; borax gives brown tones, and bicarbonate of
soda gives purple. Borax is generally used because it is the weakest
alkali, and a few drops more or less will not get one in trouble as
quickly as the stronger sodas. In some waters it is best to use sal
soda as an alkali for the gold bath, as borax may give muddy
shadows. If borax is found to give this result, try sal soda, but
remember that sal soda is a very strong alkali, and should be used
cautiously. When the water you use is alkaline, it is best to use a
very acid gold and acidify your toning bath first. Then add borax
or sal soda to bring it up alkaline. The reason for this is that the
alkali found in the water is a lime alkali, and is not the proper kind
of alkali to use, and will not give satisfactory tone. The Aristo
Gold will be found best in all such cases.

Digitized by

Google

Platinum Toning Bath.

The formula gives 60 ounces of water and 3 to 5 drams plati-
num solution. Of course, it depends on how many prints there are
to tone. So the best formula to follow will be to place enough water
in the tray you expect to use and add about three drams of platinum
solution to start on. The speed of this bath should be from eight
to fifteen minutes. If necessary add more platinum until you get it,
for it is platinum and not water that tones.

A print slightly toned in the gold bath will take more time and
platinum to tone in the platinum bath. If a print be left very long
in the gold bath and toned hard in a strong platinum bath, it will
be a strong olive, as overtoning with platinum gives greenish or olive-
black. If you tone to a purple and deposit a good lot of gold on
the print, it takes less platinum and time to tone, and will remain a
pure black. Too slow toning in platinum bath flattens the whites
and has a tendency to muddy the shadows. The platinum bath is
very acid. Use only one-third to one-half old bath over. If you
use all the old bath over, and all the acid is left in the old bath, and
you keep adding fresh platinum solution, you will get it too acid, and
are in danger of cutting out the high lights of your prints.

Aristo Platino and Junior with Single Toner.

Printing,

The printing should be fully as dark as for double toning ; print
until the high lights are well tinted. Pay no attention to the
shadows, no matter how much they bronze. Too light printing
gives weak and bleached looking prints when finished.

Washing.

Prints should be washed in eight changes of clear water before
toning to thoroughly remove all free silver. Handle prints over in
each wash water ; letting prints lie in running water for half an hour
without handling is not as good, as some of the prints will not
thoroughly wash.

Toning Bath.
After washing, tone in the following bath :

Single toner 2 drams.

Aristo Platinum i dram.

Water 32 ounces.

Prints should be toned in this bath until all trace of red has
disappeared from the deepest shadows. If the toning is not carried
fully this far you will not get pure whites or clear shadows, but
prints will come out after fixing a dirty, muddy green color, with no
brilliancy.

235

Digitized by

Google

Washing After Toning.

Throw prints from toning bath into clear water until all are
toned. Then wash in four changes of clear water, handling prints
over in each wash water to thoroughly eliminate all acid before
fixing. Then fix in a plain hyposulphite of soda bath, i8 grains
strong to the ounce, hydrometer test, for twenty minutes, handling
prints during fixing to insure perfect results. After fixing, wash
in ten to fifteen changes of clear water, or one hour in running
water, handling prints over occasionally to insure thorough washing.

Single Toner on Aristo Junior,

In toning Aristo Junior in the single toner for olive black tones,
it is handled just the same as Aristo Platino, with one exception,
flattening prints in the first wash water (see note on "Flattening
Collodion Papers "). In handling Aristo Junior and toning in the
single toner, print fully as dark as for Aristo Platino. The prints
will tone some slower than platino.. owing to the heavier gloss sur-
face, but when finished and burnished with a hot burnisher will give
a beautiful rich, olive-black print, equal to any gloss carbon made,
fully as permanent and much finer than any gold-tone print.

Some Things Necessary to Remember.

Note i. — In many places the water is impure, and red spots
make their appearance. In trouble of this kind, add to every
gallon of the first wash water two ounces of a saturated solution
of sal soda. Handle prints over in this water five minutes. It will do
very little good in any but the first wash water.

When using the soda in the first wash water with Junior paper,
after the prints are all in, rock the tray for a few minutes, keeping
prints flat, then pour soda water oflF and put in fresh water. Rock
tray for five minutes and pour off water. (Repeat if necessary
until the milky look of the water has disappeared.) Now flatten
prints. After prints are flattened, wash as directed.

Note 2. — If prints, when put into the toning bath, bleach or cut
out the high lights, spoiling the delicate half-tones, the addition of
from one to fwo drams of Aristo Platinum solution to the toning
bath will remedy the trouble.

Note 3. — Your toning bath can be strengthened by adding two
drams of Aristo Platinum solution and one dram single toner,
always watching your bath to see that it is working right.

Note 4. — When bronzing shows in the shadows, after prints
are finished, the best remedy found is the sal soda in the first wash
water. It softens the emulsion enough to allow the silver to wash
out more freely in the heavy shadows, as well as allowing the toning

236

Digitized by

Google

bath to penetrate the same, and thus remove the trouble. See
Note I.

Note 5. — The best results are obtained by using fresh toning
bath every time.

Note 6. — To remove red spots on prints, after they are toned
with single toner, dilute the stock single toner solution with equal
parts of water, and apply to spot, but not until print is fully toned.

Note 7. — Prints should be thoroughly washed in four changes
of water after toning, before fixing, as the toning bath is very acid,
and if this is carried into the fixing bath it is liable to cause muddy
whites and prints with no brilliancy.

Note 8 — Never use your platinum tray for anything but single
toner and platinum toning.

Note 9. — ^All wash waters and toning baths should be kept at a
temperature of 65*" to 70*" during cold weather.

Hypo Bath.

In making up hypo bath always use hydrometer to test. For
Junior and Blue Label use fifteen grains hypo and fix fifteen
minutes. For Platino paper use eighteen grains hypo bath. If you
wish to fix Junior and Platino together, make the hypo bath fifteen
grains strong and fix fifteen minutes. A thoroughly fixed print is
easily washed, but too long fixing is as bad as too little, as it bleaches
your prints and destroys the brilliancy.

Final Washing,

After all prints come from the hypo bath it is necessary to
handle them through at least two waters by hand before putting
them in running water or washing-box. By doing this you wash
off the surface hypo and also little air bubbles that sometimes
fasten themselves on the print, and hold the hypo under them, allow-
ing it to go on bleaching, thereby getting little white spots on the
prints when they come from the wash water that were not there
when they were fixed. After two waters by hand, one hour in
running water or ten to twelve changes by hand is sufficient
washing.

Red Spots.

Red spots on paper can come from a number of causes. The
most common forms are finger-marks, bubbles, and preservative
chemicals still in the paper. When from finger-marks they can be
easily recognized.

When the spots are round or oblong and have defined edges,
they are from bubbles, and can be avoided by sliding prints in the
first water and knocking them off. If the red spots are uneven and
scattered over the paper, or if the prints act like they were greasy

237

Digitized by

Google

when they are in the washing water, the trouble comes from oil or
grease, which may come from the hands, trays, or water.

This trouble can be overcome in both Platinum and Junior paper
by adding two ounces saturated solution sal soda to each gallon of
water the first water prints are placed in, handling prints over in
this water for five minutes.

This alkali cuts off all oil or grease on the prints and neutralizes
the acid preservative chemicals in the paper, the six changes of
clear water afterward washing out all trace of the alkali, and bring-
ing your prints up to the gold bath in a perfectly neutral condition.

Any red spots after gold toning on platino paper can be removed
by rubbing some of the stock platino solution on the spot with finger
as the print goes in platinum bath. The spot darkens, and the rest
of print tones up to it. There is no necessity for losing prints from
red spots.

When using the soda in the first wash water with Junior paper
after the prints are all in, rock the tray for a few minutes, keeping
prints flat. Then pour soda water oflF and put on fresh water.
Rock tray for five minutes. Pour oflF water. (Repeat, if necessary,
until the milky look of the water has disappeared.) Now flatten
prints. After prints are flattened, wash as directed.

Fresh Paper.

When paper prints brown or purple, with muddiness in the half-
tones, it is quite fresh, and should be put in a warm place (near a
radiator for a few days). Paper treated in this way will soon print
a rich, red color. Fresh paper must be printed darker than older
paper, which prints a cherry red. When paper prints a weak red
color in the shadows during cold weather, it is because it is chilled,
and the chemical action does not take place freely. Always print
in a warm temperature if you wish the best results. In the winter,
paper thirty days old is much better than very fresh, older paper
giving stronger and richer prints than fresh paper.

Bronzing,

Bronzing in the shadows is generally caused by not toning the
shadows properly in the gold bath first, and not far enough in the
platinum bath afterward.

Blisters.

Blisters are caused by a change of temperature in the baths or
water, and they usually come in the hypo or afterward. Adding fresh
hypo will reduce the temperature of the water. Putting the prints in
cold hypo bath and from there into warmer water again is what brings
on blisters. It can be helped by throwing prints in a salt water after
hypo, but the best plan is to temper the hypo or keep it in a saturated
form, and reduce it as you need it. Another plan is to gradually

238

Digitized by

Google

reduce the hypo bath by pouring off part of it and adding water,
repeating until down to clear water.

Hydrometer Test.

When sodas come from chemical works in crystal form they
contain a very large per cent, of water of crystallization, and tlie
conditions under which they are kept have a great deal to do with
their strength. If they are kept in a warm, dry place, the water
of crystallization dries out and they become much stronger. When
sodas are weighed by scales you can never tell anything about
them. Always test all sodas in solution by hydrometer. It is well
to often test your hydrometer by washing thoroughly and filling with
plain water. If the stem stands at zero in the water it is O. K. If
it sinks below, and tests stronger, it is *' off" ; to remedy, tap the
small end of the hydrometer on a board and jar the paper in the
stem down. Keep testing until it is at the right point.

Litmus Paper,

One of the most important things in a toning-room is litmus
paper. Only buy the best, put up in glass tubes. Never allow any
one to sell you a litmus paper that has a hard, solid body. Always
use a soft litmus paper that the solution can take hold of at once.
Use red litmus paper to test for alkali, and blue paper to test for
acid. The length of time it takes to turn red litmus paper blue, or
blue paper red, will denote how strongly alkali or acid the solution
is. Always keep litmus paper in well-stopped bottles, as light or air
will affect the sensitiveness of it, and never mix the blue and red.

Water.

The water used is of the greatest importance, and there is entirely
too little attention given to it. After having tried the water over
the larger part of the United States, we find lime, magnesia, plaster
of paris, sulphur, iron, and many other things contained in it. When
we remember that toning and developing are very delicate chemical
operations, it is a source of wonder the results obtained are as good
as they are.

When a gold bath is made with water that is strongly alkaline
the prints will be muddy and flat, and lack brilliancy: and in the
platinum bath the results are even worse, precipitating the platinum,
causing slow toning and a waste of materials. In the hypo bath it
is often the cause of yellow whites. It is very important that we
clear the water of these chemicals as far as possible, if we desire to
obtain the best results. A very simple and easy way to do this is
to get an empty whisky or alcohol barrel, remove the head, clean
barrel thoroughly, and fill with water. Dissolve a tablespoonful of
ground alum in a cup of hot water and pour into the barrel of water ;
stir thoroughly and allow to settle for twenty-four hours.

239

Digitized by

Google

Use this water for first washing, for baths, and all washing
between baths until after the prints come from the hypo, when they
may be washed in the regular tap water.

There is very little water west of the Mississippi River that
could not be improved by this treatment, especially where it comes
from artesian wells. When water is heavily charged with magnesia
or iron it is best to use other water until prints are out of the hypo.

Any trouble you may go to in your efforts to obtain pure water
will pay you a hundredfold in time, material, and results, and this
means money.

Quality of Negative.

There is a vast difference of opinion as to what a first-class nega-
tive consists of, but all printers will agree that the best negatives are
the ones that give the best results under the printing light. A nega-
tive should be clean, clear, soft, and brilliant, and, above all, have
pluck and roundness. Many negatives are spoiled in developing,
by not being developed far enough, many thinking a half -developed
negative is meant when a soft negative is spoken of. A negative
should always be developed far enough to have body and strength
enough to hold the roundness and brilliancy under the printing light.
A negative developed so thin that the arch of the high light has not
strength enough to hold up under the printing light will never make
anything but a flat, disappointing print, on any kind of paper. The
utility of the negative to do the work required of it, that is to make
prints (not to look at), depends largely on the developing agent
used in making it. We have often been given beautiful negatives to
look at, but were much disappointed in the prints of the same. The
beautiful little catchy lights on drapery seen in the negative were not
in the print, but everything seemed flat and grayed down. We find
negatives made with some developing agents do not have the quality
to stand up under the printing light that others do. The high lights
are not opaque, but the film seems porous and allows the light to
filter through the negative and gray down the delicate catchy points
of light and half-tones, and the result is a disappointment in the
finished print. The best negatives we have found to do the work
have been developed with pyro. There may be others just as good,
but we have never found them. In making a negative, the ability
of that negative to make prints should be the question. For it is
not the negative you sell your customers, but the prints from the
same. The negative is only the means to an end. and if it does not
accomplish that end it is not desirable.

A good negative must be full timed and with sufficient density
(not intensity) to be a moderately slow printer, as this character of
negative prints deep enough to give sufficient deposit of reduced
silver to tone well down in the print.

240

Digitized by

Google

Engraved by

Western Engraving Co.,
St. Louis, Mo.

Bv IV. N. Brenner

FROM CONVENTION PRIZE COLLECTION. P. A. OF A., 1899

Digitized by

Google

Digitized by

Google

Plain Prints.

All plain prints should be printed either in the shade, under
tissue or ground glass, and not in direct sunlight, as printing in the
sun produces a surface print, with no depth of brilliancy when
finished. Weak negatives can be very much improved by printing
in the shade under green tissue paper. If in the sun, put a white
tissue paper over the green.

Cracked Negaiiirs.

Many negatives are lost every year through no fault of the
printer by being cracked. If the film is not broken, perfect prints
can be easily gotten off without any trouble in the following manner :

Take a clean glass and place in printing frame, then cut a piece
of plain albumen paper (not silvered) the size of negative, and place
lace down on the glass in printing frame (so the albumenized side
will be facing out when frame is closed). Now place negative in
frame on top of albumen paper, put at least two thicknesses of tissue
paper on front of the frame, and put on printing paper, and print
square in the sun. If it shows a line, add another tissue. This
will print much faster than you think, and will not give you any
bother, and is guaranteed to work every time if the film is not
broken. If you have no albumen paper, use the Baryta coated paper
that comes around the Aristo paper.

Burnishing.

For the gloss prints, the highest finish is produced by a very hot
burnisher. Use pure Castile soap, rubbed on dry with flannel cloth
or tuft of cotton.

For platino prints, run through cold burnisher. If mounts
split, warm burnisher just enough so you can hold your hand on
the polishing roll, and it will prevent splitting. Use plain white
cardboard betw^een print and polishing roll.

Paper Sticking to Negative.

The trouble is caused by the paper sweating and sticking to the
film, and can be overcome by using a felt pad back of your paper in
printing frame. A better scheme is to varnish negatives with Aristo
Adamantine varnish.

FOR VELOX PAPER.

Printing. — Open package of paper by gaslight or very subdued
daylight.

An average negative requires ordinarily an exposure of from one
to eight seconds to diffused daylight a few feet away from northern

241

Digitized by

Google

window; electric arc light requires about the same exposure.
Welsbach gaslight needs several seconds more than an arc light;
an ordinary gas jet, or a kerosene lamp, at a distance of three or four
inches from negative, will yield a print in one or two minutes.
X'^ery dense negatives require much more time, while very weak ones
require less. All " Special " Velox papers require less exposure
than ordinary Velox. Use a strip of paper to ascertain the proper
length of exposure before proceeding with regular printing, and
keep your printing-frame always at the same distance from the light.

De\'eloping. — After exposure, develop with any of the devel-
opers given below, at a safe distance of a few feet from an ordinary
gas or lamp light. Ruby light is absolutely needless.

Essential Condition of Succe.ss. — Use strong and fresh devel-
oper, with just enough bromide to insure pure whites. More bro-
mide gives greenish blacks. Before developing dip the sheet of
paper for one or two seconds in water.

With any of the indicated developers development is very quick,
except with ** Special " Velox, and takes only a few seconds. In
fact, you do not need a tray, as the exposed print may be put on a glass
plate, and the developer spread abundantly and uniformly over its
surface by means of a brush or a tuft of cotton. The image will
appear suddenly ; somewhat more slowly for all " Special " Velox
papers. As soon as it is strong enough, dip quickly in water and
throw into the following:

Hypo Acid Fixing Baih.

Hvpo i6 ounces.

Water 64

Then add the following hardening solution :

Sodium sulphite, crystals yi ounce.

Acetic acid, No. 8 (or about 4j/i B) 3 ounces.

Powdered alum /2 ounce.

Water 5 ounces.

This mixture keeps perfectly clear, and can be made up any time
in advance. It can be used as long as it is strong enough.

Keep your prints moving in the fixing bath during the first few-
seconds, so as to insure uniform and thorough fixing, thus prevent-
ing stains and yellow whites.

Fix ten or fifteen minutes, then wash from twenty minutes to
one hour in running water. Longer fixing in summer may turn
the prints brown. Imperfect washing will produce fading prints.

Dez'elopers,

Any of the following formulas may be used with success. Be
sure, however, to have your chemicals pure, especially your sul-
phite, and not to let your developer become spoiled by oxidation ;
therefore, keep it in small, well-stoppered bottles, filled to the

242

Digitized by

Google

neck. Rubber stoppers are recommended. Too weak a developer,
or one that is oxidized or contains too much bromide, will give
greenish or brown blacks.

It is almost invariably necessary, in order to prevent foggy or
stained whites in prints, to add a small quantity of a lo per cent,
bromide of potassium solution to the developer. ' This quantity will
vary according to purity of chemicals and water. " Special " Velox
can stand more bromide and further dilution than ordinary velox.

Metol'Quinol.

Metol 7 grains.

Sodium sulphite, crystals pure Yz ounce.

Hydrochinone * 30 grains.

Sodium carbonate, desiccated 200 *'

ID per cent, bromide of potassium solution, about 10 drops.

Water 10 ounces.

If crystallized sodium carbonate is used, take 400 grains.

Amidol.

Sodium sulphite, crystals pure 200 grains.

Amidol 20 "

10 per cent, bromide of potassium solution, about 5 drops.

Water 4 ounces.

Metol.

Metol 25 grains.

Sodium sulphite, crystals pure ^ ounce.

Sodium carbonate, desiccated 120 grains.

10 per cent, bromide of potassium solution, about 20 drops.

Water 10 ounces.

If crystallized carbonate of sodium is used, take 240 grains.

CAUSES OP NON-SUCCESS ON VELOX PAPER.

Grayish whites: Lack of bromide in developer. Add a few
more drops of a 10 per cent, bromide of potassium solution. May
also be caused by trying to force the development of undertimed
prints. Possibly light-struck paper.

Greenish or Brownish Blacks : Too weak or too old developer ;
too much bromide in the developer; oxidized developer; over-
exposure. Take a more concentrated developer or use less bromide.
Strong and fresh developer can stand more bromide than a weak
one without giving greenish blacks.

Contrasty Prints: Negative too harsh; make softer negatives.
Use ** Special " Velox, which works softer. Short exposure with
*' Special " Velox will still further decrease contrast.

243

Digitized by

Google

Lack of ("ontrast : Negative is too weak. Use ordinary \'elox,
which gives more contrast. If yon use " Special " \>lox, you can
increase contrast by giving longer exposure, and by diluting your
developer and adding more bromide.

Prints too Weak : Lender-exposure or developer too weak. Too
weak a negative.

Prints too Black : Over-exposure. See also '* Grayish Whites."

Yellow or Purple Stain sometimes Irregular in Shape: Devel-
oper not spread uniformly over the prints or too long a time elapsed
between developing and fixing. When fixing, you should immerse
completely in the acid hypo, and keep your prints moving during the
first few seconds after immersion. Stain all over the film is the
result of trying to force the development of undertimed prints ; or
too weak a developer ; or incomplete fixing : or insufficient washing
after fixing; or wash-water containing iron. In case of incomplete
fixing or incomplete washing, the prints will have a sweet taste.
Rinse prints before fixing.

P>listers: Prints have been creased or broken while washing.
Do not allow water to run directly from the tap on to the prints.
Add some alum to your hypo so as to harden the film. Too much
acid or too strong hypo may cause this, and dilution of same may
avoid it. Too great a difference in temperature between the baths
or wash-water may give rise to them.

Discoloration around the Edges: If the centre of the print is
clear, it indicates that the paper has been kept in a place where it
has been submitted to chemical emanations (ammonia vapors,
illuminating gas, sewer-gas, etc.). May be caused also by not
spreading the developer evenly and abundantly over the prints.

Round White Spots : Air bubbles on the surface of the paper,
which may be removed by means of the finger while the print is
developing.

White Deposit all over the surface of the print is due to milky
hypo bath. Can be removed by means of a damp sponge. L^se
clear hypo bath.

Picture Developing Irregularly ("Freaks") and appearing to
be covered with irregular greasy streaks, as if the paper were not
coated Uniformly or had been touched with greasy fingers: This
defect occurs while developing, especially with glossy and *' Special *'
Velox, and is the result of the use of impure sulphite which contains
sulphate. Too dilute a developer may cause the same defect.
Soaking the paper in water before developing will avoid it, in case
concentrated developer or pure sulphite is not at hand.

Picture is good, but surface is covered with Marks running in
one direction which looks like Pencil Marks: This defect occurs
mostly with glossy velox, and is the result of pressure or friction.
It can be avoided to a certain extent by increasing the amount of
bromide in the developer. These surface-marks can easily be
removed from the dry print by rubbing the same with a tuft of cotton

244

Digitized by

Google

clipped in wood alcohol. On matt Vclox, surface stains can be
erased by means of a soft rubber.

Same negative and same developer may give different results
on different grades of Velox, and in each case the developer must
be made to suit the paper by adding enough bromide so as to obtain
pure whites, and by using the developer strong enough for obtaining
good blacks.

If the above indications do not enable you to locate the trouble,
please send us in one of the defective prints or one of several of
the unexposed sheets, marked with your initials on the back and
properly wrapped in non-actinic paper to prevent the same from
becoming light-struck.

DIRECTIONS FOR USING EASTMAN'S ROYAL BROMIDE PAPER.

Concentrated Solution.

The concentrated stock solution is prepared by dissolving in
succession :

Sodium sulphite, crystals 3 ounces.

Amidol yi ounce.

Water 12 ounces.

Enough of this stock solution should be prepared at one time for
one day*s use.

To develop.
Take in a suitable tray :

Concentrated stock solution 1^/2 ounces.

10 per cent, solution bromide of potassium 8 drops.

Water (^ ounces.

Use cold. After exposure, soak the paper in water until lim]),
and brush lightly over the surface while wet with a tuft of cotton ;
then immerse in the developer.

The image should appear slowly, and should develop up strong,
clear, and brilliant. When the shadows are sufficiently black, pour
off the developer, and rinse the print thoroughly with pure water.
If the print has been over-exposed, a small quantity of a solution of
bromide of potassium should be used as a restrainer.

(Note. — The above developer can be used over by the addition
from time to time of some fresh developer. If, however, the
restrainer solution has been added to it, the developer should not
be used again except for prints that are known to have been over-
exposed.)

Immerse print for ten minutes in the

245

Digitized by

Google

Fixing Bath,

Hyposulphite of soda 3 ounces.

Water '. 16

After fixing, wash thoroughly two hours, and hang up to dry.

Important Details.

With a glass tray, seven ounces of developer are sufficient for a
25 X 30 print.

Clean Dishes — Clean Hands. — The faintest trace of hypo-
sulphite of soda or of pyrogallic acid is fatal to good results with
bromide paper, and the operator cannot be too careful to avoid
any contamination.

Do not use concentrated solution more than twenty-four hours
old.

Fresh hypo solution is required for fixing each batch of prints.

The washing must be thorough after fixing.

Mealy prints are caused by over-exposure.

Other developers (except pyrogallic acid and iron) may be used
to develop Eastman's Royal Bromide papers, formulas for the use
of which accompany the chemicals.

We recommend amidol on account of its producing the most
uniformly satisfactory results.

Contact Printing,

Daylight, gas, lamp, or candle light may be used.

The exposure varies with the intensity of the negative and the
quality and intensity of the light, but may be approximately stated
to be, using as thin a glass negative or film as will make a good
print, one second by diffused daylight, or ten seconds at a distance
of one foot from a No. 2 kerosene burner.

Owing to the broad effects and the rough texture of the paper,
we do not recommend Royal Bromide for prints smaller than
8x 10.

Enlarging.

If one has a weak negative to enlarge by daylight, a strong
print may be obtained from it by varnishing the back with ordi-
nary negative varnish, slightly tinted with a yellow aniline dye.
Where many such negatives have to be treated, separate glasses
tinted to various shades of yellow may be employed, one of these
glasses being put directly behind the negative, between it and the
source of light. Only a very slight yellow tint is required to
increase the contrast in the resulting print to a marked degree.

A glass tinted with blue varnish will reduce contrast.

Mounting.
On Card. — Royal bromide prints should be mounted wet. Lay

246

Digitized by

Google

the wet print face down on table covered with oilcloth or rubber
cloth or sheet of glass, and squeegee off all the surplus water ; then
brush over the back with thin starch paste; lay the print on the
mount ; then cover the print with a clean piece of cotton cloth, and
rub into contact with a soft cloth.

Cloth Mounting. — Enlargements are usually mounted on
cloth-covered strainers as follows: Take a frame, such as artists
use for stretching canvas, and cover it with common white cloth;
put the cloth on dry, stretching it tight, and tacking along the
edges. Lay the wet print face down on table covered with oil-
cloth or rubber cloth or sheet of glass, and squeegee off the surplus
water; then brush over the back with thin starch paste, give the
cloth on the strainer a coat of paste, lay the print on the strainer;
then turn the strainer and print over, and lay face down on table
or glass, and rub in contact with soft cloth ; then turn the strainer
over and cover with a clean piece of cotton cloth and rub in con-
tact with hand or soft rag; rub under the frame with a paper or
palette knife, and remove what paste may have come through the
back of cloth under the frame, or the inside edges of strainer will
show through. When dry, the print will be stretched smooth and
tight.

Straightening Unmounted Prints. — ^After drying, prints
may be straightened by the scraping action of a sharp-edged ruler
applied to the back, the corner behind the ruler being lifted as the
ruler is passed along.

FOR SEPIA TONES ON EASTMAN'S ROYAL BROMIDE PAPER.

Hypo Toning Bath.
Directions.

By using the following formula, rich brown and sepia tones
can be readily obtained. The tones produced are believed to be
permanent, and not subject to the bronzing in the shadows which
occurs in bromides toned with uranium. For the best results the
prints should be slightly overtimed and have short development.

After prints are fixed and washed they may be transferred
direct to the toning solutions; it is, however, preferable that they
should be dried first and then toned, as there is less liability to frill
and blister.

Fonnttla.

Hyposulphite of soda 20 ounces.

Ground alum 4 "

Hot water, not over 150° F i gallon.

Dissolve the hypo in the water first, then add the alum slowly.
When all is dissolved, the solution should be milk white. This
solution should not be filtered, and must be mixed twelve hours
before use.

247

Digitized by

Google

First Hardening Solution. — Previous to toning, prints
should be immersed for five minutes in a solution of above for-
mula, which is to be used at a noniial temperature of about 65° or
70^* F.

Brush lightly over the surface while in first hardening solution
with a tuft of cotton before placing in hot toning bath.

To tone, take a suitable quantity of above mixture, heat to
130° F., remove prints directly from cold solution to warm solu-
tion, where they should remain until the desired tone is obtained:
transfer to

Second Harden ix(i Solution:

Alum 2 ounces.

Water 70

Finally, wash thoroughly.

The object of putting the print in a cold toning bath first is to
harden the gelatine before putting it in a hot bath. Plain alum
solution will not answer, because transferring the prints from it
will overcharge the bath with alum.

Several prints may be toned in the hot bath together, or one
immediately after the other, providing the bath is kept constantly hot.

The final alum bath is used to prevent blisters; it need not be
used unless they occur.

The toning takes from ten minutes to half an hour in wann bath.

Standard Formula for Developing Papers.
One Ounce.

Tolidol 5 grains.

Sulphite of Soda, dry 22 " (or 45 gr. crys.)

Carbonate of soda, dry 15 " (or 37 gr. crys. )

Water i ounce.

Sixteen Ounces.

Tolidol 80 grains.

Sulphite of Soda, dry 360 ** ( or 720 gr. crys. )

Carbonate of soda, dry 240 ** (or 600 gr. crys.)

Water 16 ounces.

Always add sufficient retarder to keep the whites on the prints
clear for one minute. This will insure fine blue blacks, and more
will change the color of the half-tones and shadows to green and
brown.

Albumen Paper.
Toning Solution.

Chloride of gold i grain.

Acetate of sodium 30 grains.

Water 8 ounces.

J48

Digitized by

Google

Digitized by

Google

Digitized by

Google

This must not be used till one day after preparation. It keeps
well and gives warm, rich tones.

Another,

Chloride of gold i grain.

Bicarbonate of sodium 4 grains.

Water 8 ounces.

This is ready for immediate use after preparation, but it will
not keep.

Another.

Chloride of gold i grain.

Phosphate of sodium 20 grains.

Water 8 ounces.

This gives rich tones of a deep purple nature, but must be used
soon after preparation.

Another.

Gold solution 10 drams.

Acetate of lime 20 grains.

Chloride of lime i grain

Tepid water 20 ounces.

The " gold solution '* before mentioned is prepared by neutraliz-
ing as much as is required of a one-grain solution of chloride of
gold by shaking it up with a little prepared chalk, then allowing it
to settle, and filtering oflf the clear liquid. This toning bath improves
by keeping. To use, add two ounces of it to eight ounces of tepid
water, which will prove sufficient to tone a full-sized sheet of paper.

Another.

Chloride of gold 15 grahis.

Water S ounces.

Neutralize with lime water, make up to fifteen ounces with
water, and add two drams of chloride of calcium. This stock
solution w^ill keep for a long time. For use, dilute one ounce with
ten ounces of water.

Combined Toning .and Fixing Baths.

Hyposulphite of soda 3 ounces.

Nitrate of lead 60 grains.

Chloride of gold 6

Water 24 ounces.

Gaedicke.

Hyposulphite of soda 200 grams.

Boric acid 30

Lead nitrate 15

Sulphocyanide of ammonium 20

Chloride of gold, t : 200 60 c. c.

Water 1000 *'

249

Digitized by

Google

Another.

Chloride of gold i grain.

Phosphate of sodium 15 grains.

Sulphocyanide of ammonium 25 "

Hyposulphite of sodium 240 "

Water 2 ounces.

Dissolve the gold separately in a small quantity of water, and
add it to the other solution.

No-Gold Combined Bath.

Hypo 6 ounces.

Washing soda 14 ounce.

Lead acetate V< "

Water ' i quart.

BLUE-PRINT FORMULAS.
No. I.

Citrate of iron and ammonia i % ounces.

Water 8

No. 2.

Ferricyanide of potassium i j4 ounces.

Water 8

Mix equal parts of No. i and No. 2, and apply with brush or
by floating for three minutes. Plain Rives paper should be used ;
hang up to dry in darkened room.

Black Lines upon a White Ground.

Gelatine 3 drams.

Perchloride of iron solution ( U. S. P. ) 6 "

Tartaric acid 3 "

Ferric sulphate 3 "

Water 9 ounces.

Filter off any precipitate that may be found, and coat any good,
stout, white paper with the full-strength solution. Expose in sun-
light till details or lines are visible, and develop with

Gallic acid -, 6 drams.

Alcohol 6y2 ounces.

Water 32

Wash well in several changes of water.

The sensitizing solution is as follows :

Gum arabic 15 grams.

Tartaric acid 2 "

Chloride of sodium (common salt) 9 **

Sulphate of iron 10 "

Iron perchloride 15 "

Water 1 10 c. c.

250

Digitized by

Google

In mixing the solution, the gum arabic is first dissolved in the
water by the aid of heat, and the other salts are added while the
solution is still warm.

The solution is spread over the surface of the paper with a
sponge, and, after allowing a little time for it to penetrate the
surface, all superfluous moisture is removed, using the sponge
again, well wrung out. If this precaution be not attended to, the
depth of the lines is not equal. The paper is then dried as quickly
as possible. If the drying is not rapid, the whites stain.

Exposure is somewhat longer than would be needed with sen-
sitized albumenized paper. The color of the sensitized paper is
yellow. During exposure all but the lines turn to white.

Development is by a plain aqueous solution of gallic acid, the
strength of which is not important. Care must be taken not to
leave the print too long in the developer, otherwise staining will
result. After development the print is rapidly washed, when super-
fluous moisture is carefully sponged off the surface. If this pre-
caution be not observed, inequality in the depth of the lines will
result.

MOUNTANTS.

Best thin glue 3 ounces.

Golden syrup ^ ounce.

Alcohol 3 ounces.

Water 3

Soften the glue in two ounces of the water ; heat gently in a pan
of hot water, add the syrup (refined molasses), add the other ounce
of water to the alcohol, and pour into the jar under constant
stirring.

Jarecki's.

Wheat flour 3J/2 ounces.

Water 8

Salicylic acid 15 grains.

Water 12 ounces.

Stir the flour with the eight ounces of water. Boil the other
twelve, add the salicylic acid, and stir in A.

Non-Cockling Paste.

Nelson's No. i gelatine 4 ounces.

Glycerine i ounce

Alcohol 5 ounces.

Water 16 ounces.

Dissolve the gelatine in the water, add the glycerine, and then
the alcohol.

251

Digitized by

Google

MISCELLANEOUS FORMULAS.

Col. J. Waterhouse's Developer for Producing Reversed

Negatives.
A.

Lithium carbonate sat. soda i ounce.

Eikonogen 5 grains.

Sodium sulphite 5 "

Dissolve the two latter in the first just before using it, and add
a few drops of

Ammonium bromide i part.

Thiocarbamide 3 parts.

Dissolve in water.

To Clean Negatives Stained by Silver.

Take a plug of cotton-wool and wet it well with a weak solution
of cyanide of potassium: rub gently all over the negative, using
a little more force on the stained parts. Wash well. Dry on blot-
ting-paper. If necessary to revarnish, flood the plate once or twice
with methylated spirit. Let dry, and then varnish in the ordinary
way.

To Remove Yellow Stains Caused by Developer.

Sulphate of iron 3 ounces, or 90 grams.

Sulphuric acid i ounce, " 30 c. c.

Alum I *' '* 30 "

Water 20 ounces, " 600 "

If, after developing and fixing the negative, it is found to be
stained yellow from the pyro or hydrochinone developer, first wash
well to remove all hyposulphite, then immerse in above solutioti
until the stain is removed ; again wash well and dry.

7\) Remove Silver Stains from Negatives,

Iodine 5 grains.

Potassium iodide 20 "

Water >4 ounce.

When the iodine is dissolved, add, while stirring, a few drops
of a strong solution of hypo until solution becomes colorless.
Apply to the spot with the soft end of a finger or a tuft of absorbent
cotton, rubbing gently. Rinse well and dry.

Soaking Solution for Films.
Blair.

Alcohol 4 ounces.

Glycerine yi ounce.

Water 16 ounces.

2^2

Digitized by

Google

Eastmax.

Glycerine i ounce.

Water 32 ounces.

To Strip Film from Ordinary Plates.

(jive negatives two coats of 2 per cent, collodion. The follow-
ing formula yields good results:

Negative cotton 30 grains, or 2 grams.

Ether i ounce, 6 drams, '* 50 c. c.

Alcohol I *' 6 " ** 50 **

Allow the first coat to dry before applying the second, and,
when second coating has set, place immediately in cold water until
greasiness has disappeared, then place in a bath of

Sodium fluoride (com.) 5 drams, or 20 grams.

Water 5 ounces, ** 160 c. c.

When thoroughly saturated with this solution, which will take
at least an hour, place without washing in

Sulphuric acid i dram, or 4 c. c.

Water 7 ounces, " 196

Rubber trays should be used for this and the fluoride bath.
When film begins to loosen, lay a piece of writing-paper or cellu-
loid upon it as a support, and separate the two from the glass.
After washing well under tap it can be transferred to a permanent
support.

The following will answer the purpose: Coat a clean glass
plate which has been rubbed with French chalk and dusted, with

Gelatine 2 j/ ounces, or 75 grams.

Glycerine 3 drams, ** 10 c. c.

Water 16 ounces, " 500

Filter before coating through Canton flannel, and avoid air bub-
bles. Coat on a leveling stand as thick as the plate will hold;
allow to set and dry.

Clearing Solntion.

Powdered alum (yo grains.

Sulphuric acid 60 minims.

Water 20 ounces.

A Substitute for V^arnishing.

Alum 2 ounces.

Tannic acid i dram.

Water 16 ounces.

Immerse negative for from three to ^\t minutes; too long an
immersion will loosen the film. Films so treated are almost
waterproof.

253

Digitized by

Google

Varnish for Celluloid Films.

Powdered aniber 5 parts.

Chloroform 45 "

Coal-tar benzine 45 "

Gum dammar yYz "

The mixture should be allowed to stand in a warm place for
some time, and should be decanted twice before using.

Ground Glass Varnish.

Sandarac 90 grains.

Mastic 20 "

Ether 2 ounces.

Benzole yi to lyi "

The proportion of the benzole added determines the grain of
the matt obtained.

Retouching Varnishes.

Sandarac i ounce.

Castor oil 80 grains.

Alcohol 6 ounces.

First dissolve the sandarac in the alcohol, and then add the oil.

Another.

Copaivic acid }4 gram.

Dammar yi "

Ether (strongest) 50 c. c.

Gasoline 120 "

Dry the dammar by heating until melted. When quite cold,
powder, and dissolve in the ether. Then add the copaivic acid
and finally add the mixture to the gasoline.

Another.

Gum dammar i part.

Oil of turpentine 5 parts.

Another.
Strong solution of gum myrrh in oil of turpentine.

Negative Varnishes.

Sandarac 4 ounces.

Alcohol 28 "

Oil of lavender 3 "

Another.

Bleached shellac 1 34 ounces.

iMastic 34 ounce.

Oil of turpentine 34 "

Sandarac 1 34 ounces.

Alcohol 20 fluid ounces.

254

Digitized by

Google

Sih 'cring M irro rs.
The glass plate to be silvered must be absolutely clean.
A. — Silver nitrate 175 grains.

Distilled water 10 ounces.

B. — Nitrate of ammonium 262 grains.

Distilled water 10 ounces.

C. — Pure caustic potash i ounce (avoir).

Distilled water 10 ounces.

D. — Pure sugar candy V2 ounce.

Distilled water 5 ounces.

Dissolve and add :

Tartaric acid 50 grains.

Boil in a flask for ten minutes, and, when cool, add :

Alcohol I ounce.

Distilled water to make to ounces.

For use, take equal parts of A and B. Mix together also

equal parts of C and D, and mix in another graduate. Then mix

both together in the silvering vessel, and suspend the mirror, face
down, in the solution.

Coloring Photographs,

The finely powdered colors are mixed with the following :

Filtered albumen 100 c. c.

Ammonium carbonate 5 grains.

Glycerine 3 c. c.

Liquid ammonia 4 **

Water 25 "

Black for Woodwork.

Shellac 40 parts.

Borax 20 "

Glycerine 20 **

Water 500

After dissolving, add 50 parts aniline black.

For Writing on Glass.

Bleached shellac 2 parts.

Venice turpentine i part.

Oil of turpentine 3 parts.

Lampblack i part.

Warm the first three ingredients together over a water-bath,
and then stir in the lampblack, incorporating thoroughly.

255

Digitized by

Google

Printing on Silk.

Wash the silk in warm water, and float for two minutes on the
following solution :

Salt lo grains.

Ammonium chloride lo

Ammonia 15 drops.

Water i ounce.

Then hang the silk up to dry. Sensitize in

Silver nitrate 1 50 grains.

Water i ounce.

After floating on this for two minutes, dry, print deeply, and
tone in ordinary manner.

Test for Hypo in Wash Water.

Permanganate of potash 3 grains.

Caustic soda 15 '*

Water 16 ounces.

A few drops of the water to be tested is mixed with a few
drops of this solution. If hypo is present, the red color will
change to green.

Varnish for Plate-Holders and Camera Interiors.

Bleached shellac 5 ounces.

Borax 1 ounce.

Water 20 ounces.

Digest at nearly boiling ix)int until dissolved; filter through
muslin.

Another.

Shellac 4 ounces.

Borax r ounce.

Glycerine yi

Aniline black 2 ounces.

Water 20

Color Screen.

Saturated alcoholic solution of *' brilliant yellow " 4 ounces.

Pyroxyline 40 grains.

Ether 4 ounces.

Comparative Strength of Varions Lights.

Gas flame 1

( )xy-hydrogen light 11

Magnesium ribbon 58

Diflfused daylight : 268

Electric light 5179

Sunlight 16079

256

Digitized by

Google

Engraved by

Art Engraving Co..

St. Paul, Minn. PORTRAIT STUDY

By A. G. McMichael

Digitized by

Google

Digitized by

Google

Process Formulas

Collodion.

Alcoliol 8 ounces. •

Ether lo

Cadmium iodide 52 grains.

Ammonium iodide 32 "

Strontium chloride 10 "

Calcium chloride 10

E. A. red label cotton 80

Developer,

Protosulphate of iron solution Hydrometer 20°.

Acetic acid 1 ounce to 16 ounces of iron solution.

Alcohol sufficient to make developer flow smoothly.

IntensiHer.

Copper sulphate i ounce.

Potassium bromide |4

Water 16 ounces.

Clearing solution, nitric acid i, to 10 water. lUack with silver
nitrate solution, hydrometer 20^.

Copying Collodion for Line Work.

Ether and alcohol Equal parts.

Anthony's snowy cotton 6 grains to i ounce.

Brown iodide of ammonium. 4

Bromide of cadmium i grain

Enamel Solntions.

Clarified fish glue i ounce.

Pure gum arabic i '*

Albumen 1

White rock candy Vx

Ammonium bichromate .V2 "

Aqua ammonia 20 drops.

Water 6 ounces.

Another.

No. I.

Le Page's glue 3 ounces.

Albumen i ounce.

Ammonium bichromate 80 grains.

Water 4 ounces.

257

Digitized by

Google

No. 2.

Gum acacia |4 ounce.

Aqua ammonia j4 "

Water 8 ounces.

No. 2 solution will keep ; No. i will not. For use, mix 3 ounces
of No. I with I ounce of No. 2.

Another.

Fish glue 2 ounces.

White of egg 1 ounce.

Ammonium bichromate 60 grains.

Chromic acid 10 **

Liquid ammonia % ounce.

Water 2 ounces.

Another,

Fish glue (Le Page's clarified) i ounce.

White of egg i

Ammonium bichromate 30 grains.

Water 1 ounce.

Etching Solution.

Saturated solution common alum 40 ounces.

Nitric acid i ounce.

Albumen Sensiti'^ing Solution.

White of two eggs (beat to froth with an egg-beater).

Water 8 ounces.

Ammonium bichromate 30 grains.

Water 8 ounces.

Allow to stand over night, and filter before using.

FOR ETCHING ON STEEL.

Spencer Acid.

No. I.

Nitric acid 5 ounces.

Water, distilled 5

Pure metallic silver i ounce.

No. 2.

Nitric acid, C. P S ounces.

Water, distilled 5

Quicksilver *. i ounce.

The two solutions are made in separate vessels, and then mixed
and kept in a glass-stoppered bottle. This mordant can be
diluted with wdter, and thus the intensity of its action can be regu-
lated. A strip of zinc, bent so as to touch a bared portion of the

258

Digitized by

Google

steel at one end and the Spencer acid at the other, is used to
establish a galvanic action and start the action of the acid.

ARTOTYPE FORMULAS.

Coat clean glass with

Albumen 1 50 grams.

Potassium bichroriiate 3 "

Dry in oven at 110° F. Lay face down on black velvet, and
expose to light until albumen is insoluble. Coat wnth following:

Gelatine, soft 160 grams.

Ammonium bichromate '. 30 "

Water 2400 c. c.

/ Dry again at 110° F., and coat with:

Gelatine 75 grams.

Water 1000 c. c.

Isinglass * 75 grams.

Ammonium bichromate 18 "

Water 1000 c. c.

Chrome alum 10 grams.

Potassium bicarbonate 2 "

Water 2000 c. c.

Mix A and B, and to each 100 c. c. add 2 c. c. of C. Flow and
dry the plate as before. Expose in shade under negative for ten
minutes. Immerse in water until colorless, wipe oflf with sponge,
and print in a lithographic press.

A Substitute for Asphalttim.
Gum turmeric has been suggested as a substitute for asphaltum,
the following being the formula:

Chinese turmeric 10 parts.

Alcohol 100

Oil of lavender 5 "

Methyl violet, saturated solution in alcohol 2 "

CARBUTT'S DEVELOPER FOR PROCESS PLATES.

Developing Formula for Half-Tone {Screen) and Negatives of Pen

Drawings.
No. I.

Neutral oxalate of potash i pound.

Warm water (free from lime salts) 48 ounces.

Add of a strong solution of citric acid enough to just turn litmus
paper red.

259

Digitized by

Google

No. 2.

Sulphate of iron ^ pound.

Sulphuric acid 15 drops.

Warm water • 24 ounces.

No. 3. — Restrainer.

Potassium bromide >2 ounce.

Water 10 ounces.

To develop, to 5 ounces No. i add i ounce No. 2 and 10 drops
No. 3.

To get an evenly developed plate, use sufficient developer to
well cover the plate, allow to act until, on looking through, the
image appears quite dense; then wash and place in clearing bath
one or two minutes.

No. 4. — Clearing Bath,

Alum I ounce.

Citric acid 3/2

Water , . 20 ounces.

Again wash and immerse in fixing bath.

No. 5. — Fixing Bath,
Sulphite of soda 2 ounces.

Water 6

Sulphuric acid i dram.

Water 2 ounces

Hyposulphite of soda i pound.

Water 48 ounces.

Chrome alum i ounce.

Water 8 ounces.

Dissolve in the order given, add the solution of sulphuric acid
to the sulphite of soda, add this to the hyposulphite, and finally
add the solution of chrome alum.

No. 6. — Reducing Solution.

Ferricyanide of potassium 50 grains.

Water 10 ounces.

No. 7. — Bleaching Solution.
A.

Bichloride of mercury 240 grains.

Chloride of ammonium 240

Distilled water 20 ounces.

No. 7. — Sulphite of Soda Solution.

Sulphite of soda i ounce.

Water 9 ounces.

260

Digitized by

Google

Line Drawings from Photographs.

Sensitize demon's matt salted paper with a 40-grain-to-the-
ounce bath of silver nitrate. Print under negative, and fix in
hypo bath, i : 6. Wash well, mount, and draw on the print with
waterproof India ink. Bleach out the photographic image with

Bichloride of mercury i ounce.

Water 5 ounces.

To Clean Glass.
Make up the following mixture :

Powdered pumice-stone i ounce.

Powdered chalk i i/i ounces.

Ammonia ^ ounce.

Water i !*

Apply with a piece of wash leather, and ix)lish with a piece of
rag or soft paper.

Lemercier Lithographic Drawing-Ink.

Yellow wax 4 parts.

Tallow ( nuitton ) 4 **

Marseilles soap 12 *'

Shellac 6 "

Lampblack i part.

Boil together. Grind, when cold, with water. It should flow
like writing-ink from the pen.

Lead Intensifier for Line Negatives.

After developing and washing, place the negative in a tray
containing :

Red prussiate of potash 2 ounces.

Xitrate of lead V/^ "

Water 24

Allow to remain until the film turns white, remove, and wash
?i\t minutes in running water, and blacken with :

Ammonium sulphuret i ounce.

Water 4 ounces.

Allow to act until it has penetrated the film, which is deter-
mined by examining back of plate ; wash and clear with :

Nitric acid i dram.

Water 4 ounces.

Gelatine Solution for Stripping Film.

Sheet gelatine i ounce.

Glycerine >4

Water 9 ounces.

Made in quantities to suit convenience.

;26i

Digitized by

Google

Soak gelatine half an hour, and melt at a temperature of i lo** ;
strain through double thickness of cheese-cloth. The negative to
be coated must be placed on a three-point leveling stand ; an extem-
poraneous one can be made by inserting in a bench or table three
long screw-eyes, so placed as to form a triangle, placing a glass
on them, and, by the aid of a small spirit-level, bring the surface
to a true level.

PYRO DEVELOPER FOR STRIPPING PLATES.

Carbutt's.
No. I. — Pyro Stock Solution.

Distilled ice water lo ounces, or 300 c. c.

Oxalic acid i dram, " 4

Then add Schering*s or Merck's Pyro, i ounce, or 30 grams, and
water to make 16 fluid ounces, or 480 c. c.

No. 2. — Soda Stock Solution.

Soda sulphite, crystals 4 ounces, or 120 grams.

Soda carb., crys. (or dry gran., i ounce). 2 '* "60 "

Potash carbonate i ounce, " 30 "

Water 10 ounces, *' 300 c. c.

Dissolve, and add water to make measure 16 fluid ounces, or
480 c. c.

No. 3. — Bromide Solution.

Bromide of sodium or potassium ^ ounce, or 14 grams.

Water 5 ounces, ** 150 c. c.

To Develop.

Dilute 2 parts of stock No. 2 with 7 parts of water for cold
weather, and 10 to 12 of water in summer. To three ounces of
dilute No. 2 add i>2 to 2>4 drams, or 6 to 10 c. c, of No. 1.
The more pyro the denser the negative, and vice versa. No yel-
lowing or fogging need be apprehended if directions are followed.
Development should be continued until the image seems almost
buried, then wash, and place in fixing bath.

N. B. — A few drops of bromide, say 8 to 12 drops, to the above
is recommended.

For instantaneous exposure, take for a 5 x 8 or 6^ x8^ plate
three ounces of dilute No. 2. Lay the plate to soak in this, and
cover pan. Put 2 drams of No. i into the graduate, and 2 drops
of bromide solution. Pour the soda solution off of the plate into
the pyro and back over the plate; let development proceed, and
examine occasionally. Keep solution in gentle motion over the

262

Digitized by

Google

plate. A very short exposure may take ten minutes to fully
develop. If the image is not fully brought out this time, add to
developer in pan three times its bulk of water, and let plate lie in
it covered over half an hour or more if necessary, until full devel-
opment is attained, then wash, and proceed as directed under head
of developer.

Directions for Photographing a Blue-Print on Ross's Stipple Papers.
Make a bath of

Chrome alum ^ ounce.

Water i quart.

Pour into a tray large enough to acconmiodate your paper.
Lay in the sheet perfectly flat, allow it to remain about three
minutes, remove and hang up by the comers to dry. This makes
the paper semi-waterproof, and it may be washed long enough for
ordinary photo-prints.

To sensitize, coat the paper with the following solution :

Citrate of iron and ammonia j/2 ounce.

Water 4 ounces,

using cotton to apply ; then hang up in the dark-room to dry.
Print under the negative until the darkest portion of the design
appears, which is enough for an outline to follow in drawing.

Develop with :

Red pnissiate of potash 10 grains.

Water 10 ounces.

F\it in a tray and float about one-half minute until you see the
design develop; wash well and dry.

Formula for Process ITorlc suggested by C Cramer Dry Plate

Company.

One Ounce.

Tolidol (according to desired density) . . 25^ to 3>^ grains.

Sulphite of soda, dry 7^/^ grains(or 15 gr. crys.)

Carbonate of soda, dry 10 '* (or 25 gr crys.)

Water i ounce.

Sixteen Ounces.

Tolidol (according to desired density) . . 40 to 55 grains.

Sulphite of soda, dry 120 grains (or 240 gr. crys.)

Carbonate of soda, dry 160 '* (or 400 gr. crys.)

Water 16 ounces.

263

Digitized by

Google

Amateur Photographic Societies

UNITED STATES

AGASSIZ ASSOCIATION, MANHATTAN CHAPTER.— Established
1881. Headquarters, 141 East 40th Street, New York City. Annual meeting,
first Friday in January. President, Rudolph P. Miller; Vice-President, Miss
K. Hargrove; Secretary, Christian F. Groth; Treasurer, W. S. Miller.

ALBANY CAMERA CLUB, THE, ALBANY, N. Y.— Organized October
2. 1887 — Incorporated 1891. Headquarters Club House, 72 Chapel Street.
Annual meeting, first Friday in April. President, Chas. V. Winne; Vice-
President, Robt. Shaw Oliver; Secretary, Chas. L. Palmer; TreasurTr, T. L.
Carroll.

AMATEUR PHOTOGRAPHIC \SSOCIATION, SELMA, ALA.— Es-
tablished December 29, 1887. Headquarters. 916 Broad Street. Selma, Ala-
Annual meeting, first Friday in January. Meet first and third Friday each
month. President, William S. Monk; Vice-President, S. A. Sexton; Secre-
tary and Treasurer, S. Orlando Trippe.

AMERICAN INSTITUTE PHOTOGRAPHICAL SECTION, NEW
YORK CITY.— Established 1859. Headquarters, 111-115 West 38th Street.
Annual meeting, first Thursday in February. President, Oscar G. Mason ;
Vice-President, Robert A. B. Dayton; Secretary, J. W. Bartlett, M. D., 149
West 94th Street ; Treasurer, William H. Oakley.

AMERICAN LANTERN SLIDE INTERCHANGE.— Established 1885.
Headquarters, 361 Broadway, N. Y. Annual meeting, November 15 of each
year. General Manager, F. C. Beach. Board of Managers, F. C. Beach, W.
H. Rau, Geo. Timmins, W. H. Cheny, John S. Paterson.

BALTIMORE CAMERA CLUB OF THE WEST BRANCH Y. M. C. A.
— Established 1899. Headquarters, Baltimore. Md. President, Bryan Nichol-
son ; Vice-President, Wm. N. Hazen ; Secretary and Treasurer, Chas, E.
Adams.

BINGHAMTON Y. M. C. A. CAMERA CLUB.— EstabHshed 1899-
Headquarters, Binghamton, N. Y. President, Albert B. Brown; Vice-Presi-
dent, Arthur B. Hollister ; Secretary, H. C. Price ; Treasurer, E. F. Robinson.

BOSTON CAMERA CLUB.— Established 1881. Headquarters, 50 Brom-
field Street, Boston, Mass. Annual meeting first Monday in January. Presi-
dent, Joseph Prince Loud; Vice-Presidents, Wm. O. Witherell, Chas. H. Cur-
rier, Chas. Sprague ; Secretary, Chas. Hall Perry ; Treasurer, Charles H.
Chandler.

BRISTOL CAMERA CLUB.— Established January, 1899. Headquarters.
Bristol, Pa. President, Llewelyn Davis; Vice-President, Jesse O. Thomas,
Jr. ; Secretary, Edgar A. Smith ; Treasurer, Philip J. Blackwood.

264

Digitized by

Google

Digitized by

GoogldT

Digitized by

Google

BROCKTON CAMERA CLUB, BROCKTON, MASS.— Established April
i), 1894. Headquarters, Room i. Smith Building. Annual meeting, third
Friday in April. President. A. D. Evans; rice-President, Geo. W. Loring;
Secretary, A. E. Carpenter, S7 Manomet Street : Treasurer, W. C. Spring.
The Photo- Pyrotechnics, the official organ of the club, is published monthly.

BROOKLYN ACADEMY OF PHOTOGRAPHY.— Established February.

1887. Headquarters, 177 Montague Street, Brooklyn. Annual meeting, first
Tuesday in June. President, Wm. Arnold; First Vice-President, Sherman
Esselsteyn ; Second Vice-President, Dr. S. B. Price ; Secretary, H. M. Valen-
tine; Treasurer, W. T. Wintringham.

BROOKLYN INSTITUTE OF ARTS AND SCIENCES, DEPART-
MENT OF PHOTOGRAPHY OF THE.— Headquarters, 20T Montague
Street, Brooklyn, N. Y. Annual meeting. April. President, Prof. Chas. H.
Morse; Vice-President, W. J. Bryant; Secretary, A. C. Ruprecht; Treasurer,
John H. Norris.

CALIFORNIA CAMERA CLUB.— Established April 5, 1890. Head^
quarters. Academy of Sciences Building, San Francisco. Annual meeting,
first Tuesday after first Monday in April. President, J. W. Erwin; riVf-
Presidents, E. J. Dollard, W. B. Webster; Secretary, H. B. Hosmer; Treas-
urer, E. G. Eisen.

"CAMERADS," NEW BRUNSWICK, N. ].— Secretary, Harvey Iredell.
D.D.S. ; Treasurer, Chas, V. Myers.

CAPITAL CAMERA CLUB OF WASHINGTON, D. C— Organized
May, 1891. Headquarters, 1010 F Street, N. W., Walter Building. Annual
meeting, first Saturday in May. President, George W. White; Vice-Presi-
dent, Wallace C. Babcock ; Secretary, W. F. Peabody ; Treasurer, Wm. P.
Herbst.

CAPITAL CITY CAMERA CLUB, TPIE.— Established 1899. Headquar-
ters, Salem, Ore. President, A. E. Strang; Vice-President, R. H. Leabo;
Secretary, Mrs. W. E. Copeland ; Treasurer, Miss Fannie Kehne.

CENTRAL CAMERA CLUB OF THE YOUNG MEN'S CHRISTIAN
ASSOCIATION, BROOKLYN, N. Y.— Established January, 1888. Head-
quarters, 502 Fulton Street, Brooklyn, N. Y. Annual meeting, first Monday
in January. President, Wm. H. Lowery ; Vice-President, James P. Allen;
Secretary, Edwd. L. Damon ; Treasurer, Chas, Kirhn.

CHATTANOOGA CAMERA CLUB.— Established December 12th. 1898.
Headquarters, Chattanooga, Tenn. President, M. L. Mudge; Secretary and
Treasurer, Emil B. Igou.

CHAUTAUQUA PHOTOGRAPHIC EXCHANGE CLUB.— Established

1888. (Correspondence.) President, C. M. Fitzgerald, of California; Sec-
retary and Treasurer, Mrs. C. L. Pierce, "Elmhurst," Riverside, Conn.

265

Digitized by

Google

CHICAGO Society of amateur photographers.— Estab-
lished 1886. Incorporated July, 1894. Headquarters, The Art Institute. An-
nual meeting, second Wednesday in January. President, T. Geo. Hislop ; Vice-
President, E. M. Murray; Secretary, E. W. Grievish; Treasurer, Geo. H.
Kittoe.

COLUMBIAN AMATEUR PHOTO EXCHANGE.— Established 1893
President, A. H. Waite; Secretary, W. E. Dickinson, Osage, Iowa.

COLUMBIA PHOTOGRAPHIC SOCIETY.— Established December 7.
1889. Headquarters, 181 1 North Broad Street, Philadelphia, Pa. Annual
meeting, first Monday in February. President, G. J. R. Miller, D.D.S. ; First
Vice-President, Percival A. Mitchell ; Second Vice-President, Frank E. Gart-
ley; Secretary, E. Ford Cuming; Treasurer, John P. Kolb.

CORLISS ART AND CAMERA CLUB.— Established 1896. Headquar-
ters, corner State and Harris Streets. Annual meeting, first Friday in April.
President, C. L. B. Anderson ; Vice-President, Otis P. Gould ; Secretary.
Edgar F. Noyes; Corresponding Secretary, John H. Wheeler; Treasurer,
Edgar F. Noyes.

CORYDON CAMERA CLUB.— Established 1899. Headquarters, Cory-
don, Ind. Captain, Hugh O'Connor; Vice-Captain, S. D. Bartley; Secretary.
Miss Clem Mathes; Treasurer, John Trotter.

DAGUERRE CAMERA CLUB.— Established 1893. Headquarters, mem-
l)ers' houses. Annual meeting, December 19, 1899. President, C. B. Wit-
beck; Vice-President, Wm. A. Wilson; Secretary, J. W. Flynn, M. D., 116
East 8ist Street, N. Y. C. ; Treasurer, Carl Stulpnagel.

DETROIT CAMERA CLUB.— Established February 11, 1897. Head-
quarters, Van Husan Building, 106 Miami Avenue. Annual meeting, first
Tuesday in June. President, E. Donald Roberts ; Vice-President, E. W.
Sprague; Secretary-Treasurer, W. E. Winckler.

DULUTH Y. M. C A. CAMERA CLUB.— Established June, 1898. Head-
quarters,^ Y. M. C. A., Duluth, Minn. Address, B. A. Shuman, Secretary
Y. M. C. A.

EAST ORANGE CAMERA CLUB.— Estabh shed April 4, i899- Head-
quarters, East Orange, N. J. President, D. L. Gorsline; Vice-President, W-
H. Mason; Secretary, W. H. Craig; Treasurer, C. K. Foiles.

ELIZABETH CAMERA CLUB.— Established May, 1893- Headquarters.
96 Broad Street. Annual meeting, first Saturday in May. President, H. O
Halsey; Vice-President, W. C. Wells; Secretary, J. H. Walker; Treasurer,
W. R. Bird.

ERIE CAMERA CLUB, ERIE, PA.— Established, May 29, 1894. Head-
quarters, Room 30, Dowing Building. Annual meeting, third Thursday of
January. President, Frank W. Grant; Vice-President, Jos. M. Force; Sec-
retary, B. P. Beckers; Treasurer, Robert Smith.

GENESEE CAMERA CLUB.— Established 1899. Headquarters, Genesee.
N. Y. President, W. E. B. De Vine; Secretary, Owen Scott; Treasurer, B.
Howarth.

266

Digitized by

Google

HARTFORD SCIENTIFIC SOCIETY.— Established and incorporated
1885. Headquarters, Hartford, Conn. Annual meeting, October. President,
Geo. L. Parmele; Secretary, Edw. C. Swan; Treasurer, Albert C. Bates.
PHOTOGRAPHIC SECTION.— C. R. Nason, Chairman; Margaret H. Olm-
stead, Secretary.

HAVERHILL CAMERA CLUB.— Established February 8, 1898. Head-
quarters, Rooms 44 and 45, Daggett Building. Annual meeting, second
Tuesday of June. President, Charles. W. Glines; Vice-President, George E.
Dodge; Secretary and Treasurer, Alfred E. Collins; Executive Committee,
Wm. H. Burke, E. H. Lufkin and officers.

ILLINOIS COLLEGE OF PHOTOGRAPHY, EFFINGHAM, ILL.—
established 1894. President, L. H. Bissell ; Secretary, Aurora L. Buckner.

INTERNATIONAL PHOTO PRINT EXCHANGE.— Established May,
1893. Headquarters, Beach BluflF, Mass. A postal photographic exchange
club limited to twenty members. Secretary and Treasurer, Walter Sprange.

JERSEY CITY CAMERA CLUB.— Established 1898. Headquarters, Jer-
sey City. President, Eugene Sutherland; Vice-President, Rev. R. M. Ayles-
worth; Secretary, H. Jacobson; Treasurer, William Dilts.

JERSEY CITY Y. M. C A. CAMERA CLUB.— Established 1899. Head-
quarters, Jersey City, N. J. President, J. Mills Dilloway; Secretary, R. An-
derson.

LANCASTER CAMERA CLUB.— Established May 15, 1895. Head-
quarters, Morning News Building, Penn Square. Annual meeting, first
Thursday in May. President, W. S. Glein; Vice-President, W. A. Heitshu;
Secretary and Treasurer, Chas, A. Sauber.

LANCASTER Y. M. C. A. CAMERA CLUB.— Established May 4, 1898.
Headquarters, Y. M. C. A. Building. Annual meeting, April, second Tues-
day. President, John M. Ziegler; Vice-President, Aaron Stauffer; Secretary,
John S. Cochran; Treasurer, John Eichler.

LOWELL CAMERA CLUB, LOWELL, MASS.— Established 1889. In-
corporated 1892. Headquarters, Central Block. Annual meeting, first Tues-
day in March. President, Paul Butler; Vice-Presidents, W. P. Atwood, F. T.
Walsh; Secretary, George A. Nelson, 305 Summer Street; Treasurer, M. A
Taylor.

MALDEN Y. M. C. A. CAMERA CLUB, MALDEN, MASS.— Estab-
lished January 16, 1895. Headquarters, Y. M. C. A. Building. Annual
meeting, first Wednesday in January of each year. President, J. Arthur.
Came; Vice-President, F. G. Stetson; Secretary, Ashley M. Hoyt.

MATTAPAN CAMERA CLUB.— Established May, 1890. Headquarters,
secretary's studio, Brush Hill Road, Mattapan. Annual meeting, month of
May. President, John N. Locklin; Vice-President, Walter Hertzberg; Secre-
tary, Erdmann Sonnenbrodt; Treasurer, Walter Hertzberg.

267

Digitized by

Google

MEADVILLE CAMERA CLUB.— Established 1899. Headquarters.
Meadville. Pa. President. Dr. J. H. Montgomery: rice-President, Rev. A.
C. Bowers; Secretin \\ Clias. F. Clyde; Treasurer, Mrs. A. L. Ballinger.

METTOVVEE AMAFEUR PHOTOGRAPIIJC CLUB.— Established Jan-
uary, 1899. Headquarters, Granville, N. Y. [^resident, F. V. Ives; Vice-
President, Mrs. Potter; Secretary, Daniel Edwards; Treasurer, Miss Mad-
dock.

MINNEAPOLIS CAMERA CLUB.— Established 1892. Annual meeting,
April. President, H. E. Murdock ; rice-President, W. H. McMullen ; Secre-
tary, C. J. Hibbard, 317 Hennepin Avenue; Treasurer, John F. Schlimnie.

MOBILE CAMERA CLUB, MOBILE. ALA.— Established March i,
1898. Headquarters, Art League rooms. Annual meeting, second Friday in
January. President, Hugh Rolston; Vice-President, Chas. S. Shawhan ^ 5'rc-
retary and Treasurer, Richard Hines, Jr.

MYSTIC CAMERA CLUB, MEDFORD, MASS.— Established June 4,

1889. Headquarters. 4 Ashland Street. Annual meeting, first Tuesday in
January. .President, Will C. Eddy; Vice-President, L. E. Shattuck; Secre-
tary, Geo. W. Prowse; Treasurer, C. A. Clarke.

NORFOLK CAMERA CLUB.— Established 1898. Headquarters, Main
and Church Streets, Norfolk, Va. President, Dr. Randall Barett ; Vice-Presi-
dent, W. H. Taylor, Jr.; Secretary, C. R. Mackimmie; Treasurer, H. N.
White.

NEW HAVEN PHOTOGRAPHIC SOCIETY.— Established 1899. Head-
quarters, New Haven, Conn. President, Dr. W. G. Ailing; Vice-President,
J. R. McCusker; Secretary, NL C. Ferguson; Treasurer, F. 7- Chatterton.

OHIjO AMATEURS' ASSOCIATION.- -EstaWished November 25, 1898
Headquarters, F'ostoria, O. President, Clarence H. White; Vice-President,
E. A. Mergcnthaler ; Secretary, Miss Emma Spencer; Treasurer, Andrew
Emerine, Jr.

OLD COLONY CAMERA CLUB, ROCKLAND, MASS.— Established

1890. Headquarters, Arnold Building. Annual meeting, first Saturday in
January. President, David Smith; Vice-President, Emery H. Jenkins; Sec-
retary, David Smith ; Treasurer, Emery H. Jenkins.

ONEIDA CAMERA CLUB.— Established March 24, 1894. Headquar-
ters, Post Office Block. Annual meeting, first Tuesday in April. President,
B. S. Teale; Vice-President, E. R. McDougall ; Secretary and Treasurer, Al-
bert Dygert.

ORANGE CAMERA CLUB, ORANGE, N. J.— Established March 20.
1892. Headquarters, 222 Main Street, Orange, N. J, Annual meeting, March
20. President, F. H. Gould; Vice-President, D. S. Plumb; Secretary, W.
H. Mason ; Treasurer, E. S. Butterfield.

268

Digitized by

Google

OREGON CAMERA CLUB, PORTLAND, OREGON.— Established Jan-
uary 14, 1895. Headquarters, Oregonian Building. Portland, Oregon. An-
nual meeting, second Tuesday in January. President, Will. H. Walker; I'tce-
President, Frank C. Cover; Secretary, Milton P, Goldsmith; Treasurer, Fred.
A. French. Membership August i, active. 120.

PAWTUCKET YOUNG MEN'S CHRISTIAN ASSOCIATION CAM-
ERA CLUB.— Established May, 1898. Headquarters, Pawtucket Y. M. C. A.
Annual meeting, May each year. President, J. Henry Weaver; Vice-Presi-
dent, S. H. Byron; Secretary and Treasurer, Geo. A. Harrington.

PHOTOGRAPHIC SOCIETY OF PHILADELPHIA.— Established No-
vember, 1862. Headquarters, 10 S. i8th Street. Annual meeting, April, sec-
ond Wednesday. President, Robert S. Redfield ; Vice-President, George
Vaux, Jr., and Walter P. Stokes; Secretary, Edmund Stirling; Treasurer,
Anthony W. Robinson.

PIKE CAMERA CLUB.— Established 1899. Headquarters, Merrimac,
Mass. President, Rev. H. A. Cornell; Vice-President, Chas. Howe; Treas-
urer, Byron Sargent.

PITTSBURG AMATEUR PHOTOGRAPHERS' SOCIETY. — Estab-
lished 1885. Headquarters, Carnegie Library. Annual meeting, January,
second Monday. President, E. E. Keller; Vice-President, H. L. Christy;
Secretary, Joseph H. Hunter; Treasurer, W. J. Hunker.

PITTSFIELD CAMERA CLUB, PITTSFIELD, MASS.— Established
1892. Meetings held at residence of members. Annual meeting, February.
President, J. F. Middleton ; Vice-President, J. D. Roscoe; Secretary, J. E.
Colton ; Treasurer, J. H. Musgrove.

PLAINFIELD CAMERA CLUB, PLAINFIELD, CONN.— Headquarters.
Babcock Building. Annual meeting. December. President, H. H. Coward ;
flcc-President, Louis Borsum ; Secretary, J. Hervey Doane, 115 Park Avenue;
Treasurer, H. W. Marshall.

PORTLAND CAMERA CLUB.— Established 1899. Headquarters, Port-
land, Me. President, George F. Gould : Vice-President, N. W. Edson ; Sec-
retary, Edgar R. Dow ; Treasurer, J. H. Lamson.

PORTSMOUTH CAMERA CLUB, PORTSMOUTH, VA.— Estabhshed
1897. Headquarters, 614 Crawford Street. Annual meeting, May i. Pres-
ident, Jesse P. Neville ; Secretary and Treasurer, H. F. Richardson.

POSTAL PHOTOGRAPHIC CLUB.— Organized 1885. President, Albert
J. LeBreton, Washington ; Secretary and Treasurer, F. O. Congdon, 120
Broadway, New York. Membership, 40, composed of amateur photographers
in different cities, who each month contribute prints to an album for circula-
tion among the members, together with a note-book for criticisms and com-
ments.

269

Digitized by

Google

PROVIDENCE CAMERA CLUB.— Established 1883. Incorporated 1889.
Headquarters, 174 Weybossct Street, Providence, R. I. Annual meeting, sec-
ond Wednesday in June. President, Fred. P. Wilbur; Vice-President, W.
Penn Mather; Recording Secretary, A. F. Manchester; Corresponding Sec-
retary, Christopher M. Lee, 147 Elmwood Avenue, Providence, R. I. ; Treas-
urer, Edmund A. Darling.

PROVIDENCE Y. M. C. A. CAMERA CLUB.— Established April, 1896.
Headquarters, 519 Westminster Street, Providence, R. I. Annual meeting.
April. President, C. Abbott Davis; Secretary, C. B. F. Davis; Treasurer,
Heman L. Calder.

READING Y. M. C A. CAMERA CLUB.— Established 1899. Headquar-
ters, Reading, Pa. President, Otis Wanner ; Secretary, John J. Strickland :
Treasurer, O. J. Leiby.

ROCKLAND CAMERA CLUB OF THE Y. M. C. A.— President, Eugene
F. Perry; Vice-President, Jas. P. Blauvelt; Secretary and Treasurer, Herbert
R. Marshall.

ROCKVILLE CAMERA CLUB.— Established 1899. Headquarters, Rock-
ville, Conn. President, T. S. Pratt; Vice-President, E. F. Badmington; Sec-
retary, C. F. Gubitz; Treasurer, F. H. Holt.

RUTLAND CAMERA CLUB, RUTLAND, VT.— Established October,
1893. Annual meeting, second Tuesday in October. President, Cornele G.
Ross ; Secretary and Treasurer, V. F. Worcester.

SACRAMENTO CAMERA CLUB, SACRAMENTO, CAL.— Established
June 4, 1895. Headquarters, 504 J Street. Annual meeting, June 4-
President, Capt. Thos. B. Hall; Vice-President, Ferdinand Kohler; Secretary,
W. G. Woods, 420 J Street ; Treasurer, R. P. Burr.

^ SAVANNAH CAMERA CLUB.— Established June, 1897. Headquarters,
Bull Street and Park Avenue. Annual meeting, first Wednesday in May.
President, B. J. Apple; First Vice-President, Alexis Nicolas; Second Vice-
President, Paul M. Bryan; Secretary and Treasurer, C. Easton Yonge.

SPRINGFIELD CAMERA CLUB, SPRINGFIELD, MASS.— Established
October 11, 1886. Headquarters, Y. M. C. A. Building, State and Dwight
Streets. Annual .meeting, third Wednesday in October. President, Bion D.
Wheeler ; Secretary, E. L. Pease ; Librarian, F. W. Huntley. Membership, 82.

ST. LOUIS PHOTOGRAPHIC SOCIETY.— Established 1894. Head-
quarters, Century Building (temporary). Annual meeting, first Monday in
December. President, Robert E. M. Bain ; Vice-President, John B. Holman :
Secretary and Treasurer, Charles M. Alexander.

ST. PAUL CAMERA CLUB.— Established April 19, 1899. Headquar-
ters, 48 East Fourth Street, St. Paul, Minn. Annual meeting, second Tues-
day of April. President, Wm. E. Johnson ; Vice-President, W. J. Sonnen ;
Secretary, E. N. Easton; Treasurer, H. A. Clifford.

270

Digitized by

Google

SUNNY SIDE CAMERA CLUB, ST. LOUIS, MO.— Organized October
10. 1891. Headquarters, third tloor of 5900 South Broadway. Annual meet-
ing, October 10. President, Berthold VV. Blumenthal; Vice-President, Ed-
mund Broch ; Secretary and Treasurer, Wm. Britchner.

SYRACUSE CAMERA CLUB.— Established 1886. Headquarters, Uni-
versity Block. Annual meeting, first Friday in January. President, H. B.
Buell ; Vice-President, J. I. H. Wright ; Secretary, Dan H. Sweet ; Treasurer,
J. E. Bierhardt.

TACOMA CAMERA CLUB.— Established February or March, 1899.
Headquarters, Tacoma, Wash. President, Arthur G. Prichard; Vice-Presi-
dent, Mrs. M. W. GraflF; Secretary, Mrs. J. H. Scott; Treasurer, Frank G.
Taylor.

THE CAMERA CLUB OF NEW YORK.— Incorporated May 7, 1896.
Headquarters, 3 West 29th Street. Annual meeting, second Tuesday of
April. President, Wm. D. Murphy; Vice-President, Alfred Stieglitz; Secre-
tary, Harry B. Reid; Treasurer, Wm. E. Wilmerding.

TOLEDO Y. M. C. A. CAMERA CLUB.— Established 1899- Headquar-
ters, Toledo, O. President, Wesley Wuerfel ; Vice-President, W. R. MoflFat ;
Secretary and Treasurer, John Powell.

TOPEKA CAMERA CLUB.— Established September 5, 1894. Annual
meeting, second Tuesday in January. President, F. M. Tuckerman; Vice-
President, R. H. Gaw ; Secretary, F. M. Tuckerman ; Treasurer, W. E. Culver.

TRENTON PHOTOGRAPHIC SOCIETY.—Established January, 1898.
Headquarters, Rooms 11 and 12 Scott Building, Trenton, N. J. Annual meet-
ing, first Monday in February. President, William C. Lawrence ; Vice-Presi-
dent, Harry G. Aitken; Secretary, Grant Castner, 51 Bayard Street; Treas-
urer, Harry V. Holden.

UTICA CAMERA CLUB.— Established February 3, 1899. Headquar-
ters, Utica, N. Y. President, D. Vaughn Ely; Vice-President, H. H. Wells:
Secretary and Treasurer, M. C. Brown.

VALLEY CAMERA CLUB.— Established November 18, 1896. Head-
quarters, Phenix, R. I. Annual meeting, first Monday in April. President,
Ward E. Smith ; Secretary, J. Bancroft Lawton ; Treasurer, F. J. Hoxie.

THE WEBSTER CAMERA CLUB.— Established 1899. Headquarters.
Webster Grove, Mo. President, W. A. Sisson ; Vice-President, F. C. Thomp-
son ; Secretary and Treasurer, A. K. Prince.

UNITED KINGDOM

AINTREE PHOTOGRAPHIC SOCIETY.— Established March, 1894.
Headquarters, Aintree Institute. Annual meeting, March 13. President,
Wm. Lockier; Vice-Presidents, D. J. Neill and W. H. Lloyd; Secretary, J.
Herbert Righy, "Elton," Aintree, England.

Digitized by

Google

ASHTON-UNDER-LYNE PHOTOGRAPHIC SOCIETY.— Established
1891. Headquarters, 10 Henry Square, Ashton-under-Lyne, England. An-
nual meeting, third Thursday in March. President, Dr. Alex. Hamilton;
Vice-Presidents, Major Bradley, Thos. Glazebrook, Chas. E. Redfern, J. P.,
Abel Buckley, J. P., John W. Kenworthy, J.P., John Wilson, J.P., Tulloch
Cheyne, Chas. Lord; Secretary, Robt. T. Marsland. 24 Park Parade, Ashton-
under-Lyne ; Treasurer, Walter Leigh, 200 Oldham Road ; Librarian, Sam. A.
Piatt, 4 Cowhill Lane.

BATH PHOTOGRAPHIC SOCIETY, ENGLAND.— Established 1888.
Headquarters, Royal Literary and Scientific Institution. Annual meeting,
last Wednesday in February. President, George Norman, Esq. ; Vice-Presi-
dent, E. J. Appleby ; Secretary and Treasurer, W. Middleton Ashman.

BIRMINGHAM NATURAL HISTORY \ND PHILOSOPHICAL SO-
CIETY, BIRMINGHAM, ENGLAND.— Established 1858. Headquarters.
Norwich Union Chambers. Congreve Street. Annual meeting, February.
President, R. W. Chase. M.B.O.U.; Vice-President, Prof. T. W. Bridge,
M.A.. D.Sc. and Prof. J. H. Poynting, M.A., D.Sc, F.R.S. ; Secretary, W. P.
Marshall, M.I.C.E., and P. L. Gray, B.Sc. ; Treasurer, C. A. Harrison.

BIRMINGHAM PHOTOGRAPHIC SOCIETY. — Established 1885.
Headquarters, Athletic Institute, John Bright Street, Birmingham, England.
Annual meeting. January. President, Prof. F. J. Allen; Vice-Presidents.
G. F. Lyndon. J.P.. E. Underwood, J. F. Hall Edwards. L.R.C.P., T. W. Rob-
inson ; Secretary, C. J. Fowler, Court Mount, Erdington ; Treasurer, R.
Haines.

BLAIRGOWRIE AND DISTRICT PHOTOGRAPHIC ASSOCIATION.
— Established February 13. 1894. Headquarters, George Street, Blair-
gowrie, Scotland. Annual meeting, third Tuesday in February. President,
Alex. Geekie ; J^ice-Presidents, J. B. Maclacklan and T. C. Gorrie ; Secretary,
Hugh B. Jamieson ; Treasurer, David G. Monair.^

BRADFORD PHOTOGRAPHIC SOCIETY.— Established 1894- Head-
quarters, the Bradford Grammar School. Annual meeting, third Monday in
January. President, Percy Lund ; Secretary, Ezra Clough ; Treasurer, David
Stevenson.

BRECHIN PHOTOGRAPHIC ASSOCIATION. — Established 1888.
Headquarters, Y. M. C. A. Institute. Annual meeting, third Wednesday in
September. President. Wm. Shaw Adamson, Carlston Castle; Vice-Presi-
dents, R. W. Duke and J. D. Ross; Secretary, Alexander Watson, 75 River
Street, Brechin. Scotland ; Treasurer, John E. Small.

BRISTOL AND WEST OF ENGLAND AMATEUR PHOTOGRAPHIC
ASSOCIATION.— Headquarters. Literary and Philosophic Club, Berkeley
Square. Annual meeting, January. President, H. A. Hood Daniel; Vice-
Presidents, Edward Bryktman and Dr. Ormerod ; Secretaries, Edward Brykt-
man, Lyndale, Redland Road, Bristol, and Martin Lavington; Treasurer, Wil-
liam Moline.

272

Digitized by

Google

Engraved by By Don C. Scott

iVm. C. Gage & Sons,
Battle Creek, Mich.

A CONVENTION PRIZE WINNER, P. A. OF A.,
1899

Digitized by

Google

Digitized by

Google

BRITISH ASSOCIATION FOR THE ADVANCEMENT OF
SCIENCE. — Established 1831. Headquarters, office Burlington House, Lon-
don. Annual meeting, Dover, September 13-20. President, Dr. Michael Fos-
ter; Secretary, G. Griffith; Treasurer, Prof. Carey Foster.

BURY PHOTOGRAPHIC AND ART CLUB.— Established 1882. Head-
quarters, 12 Market Street, Bury, England. Annual meeting, fourth Wednes-
day in September. President, Roger Wood, Esq. ; Vice-President, T. M. Bar-
bour, Esq.; Secretary, A. E. Riding; Treasurer, J. Nicholls.

CAMERA SECTION WORCESTER TRICYCLE CLUB.— Established
1892. Headquarters, Bell Hotel, Worcester, England. Annual meeting, Jan-
uary. President, James Wilkes, Esq. ; Secretary, T. J. Hobson, 15 Albany
Terrace, Worcester; Treasurer, F. E. Hill.

CARDIFF PHOTOGRAPHIC SOCIETY.— Established 1886. Headquar-
ters, 7 and 8 Working Street, Cardiff, England. Annual meeting, November
ro. 1899. President, W. J. Jenkins; Vice-Presideuls. S. W. Allen. G. Bed-
ford, W. H. Kitchen; Joint Secretaries, L. Ernest Hopkins and J. Blount
Hopkins ; Treasurer, Wm. Booth.

CITY AND GUILDS OF LONDON TECHNICAL COLLEGE FINS-
BURY PHOTOGRAPHIC SOCIETY.— Established 1887 Headquarters,
City and Guilds of London Technical College, Leonard Street, City Road.
London, E. C. Annual meeting, October. President, R. Meldola, F.R.S.,
F.I.C., F.C.S. ; Vice-Presidents, J. Castell Evans, F.I.C. and F. L. Streatfeild,
F.I.C. ; Secretaries, L. A. Williams and J. F. M. Roberts; Treasurer, T. H.
Norris, F.I.C.

CLYDESDALE CAMERA CLUB.— Established 1889. Headquarters.
Wemyss Bay, Scotland. President, H. E. Gordon, Esq. ; Secretary and Treas-
urer, Hon. A. Caroline Burns.

COLNE CAMERA CLUB.— Headquarters, Cloth Hall, Colne, Lancaster,
England. President, Rev. T. Leyland ; Vice-Presidents, H. Hewitt, J. Duck-
worth, Jos. Hay ; Secretary, R, T. Lawson, 34 Skipton Road ; Treasurer, Josh-
ua Robinson.

CORNISH CAMERA CLUB. — Established 1888. Headquarters, The
Studio, Penzance, Cornwall, England. Annual meeting. May President. W.
E. Bailey, C.C., F.L.S. ; Vice-President, R. Pearce Couch; Secretary, H. Ton
kin, 22 Market Place, Penzance, Cornwall, England; Treasurer, A. R. F.
Evershed, M.R.C.S.

CROYDON MICROSCOPICAL AND NATURAL HISTORY CLUB,
PHOTOGRAPHIC SECTION.— Established 1870. Headquarters, Public
Hall, George Street, Croydon, Surrey, England. Annual meeting, January
17, 1899. President, I. M. Hobson, M.D., B.Sc. ; Vice-President, W. Murton
Holmes; Secretary, Harry D. Gower, 55 Benson Road, Croydon, Surrey;
Treasurer, F. J. Townsend.

27:^

Digitized by

Google

DERBY PHOTOGRAPHIC SOCIETY.— Estal)lishe<J May, 1884. Head-
quarters, Y. M. C. A. Inst. Derby, England. Annual meeting, third Tuesday
in January. President, Capt. W. de W. Abney. CB.. D.C.L.. F.R.S. ; Vice-
President, Thos. A. Scotton ; Secretary, Edmd. Fearn ; Treasurer, F. H.
Gandy.

DEVONPORT CAMERA CLUB.— Established 1891. Headquarters. Odd
Fellows* Hall. Ker Street. Devonport, England. Annual meeting. September.
President, R. E. J. Lamb, Esq. ; Vice-Presidents, Coombes. Dart, Dymond.
Turney; Secretary, Wm. H. Lamb; Treasurer, C. Croydon. Esq.

DUKINFIELD PHOTOGRAPHIC SOCIETY.— Established 1888. Head-
quarters, Co-operative Hall. Astley Street, Dukinfield, England. Annual
meeting, Wednesday, January 17, 1899. President, T. H. Gordon, Esq.. B.A.,
C.C. ; Vice-Presidents, S. T. Ainsworth. Esq., J. W. Hadfield. Esq., J. T. Lees,
Esq. ; Secretary, W. D. Roberts, 24 Chapel Street, Dukinfield ; Treasurer, J.
VVinterbottom. Alderdale Terrace, Chapel Street, Dukinfield,

'DUNDEE ADVERTISER" PHOTOGRAPHIC CLUB.— Established
1894. Headquarters. Advertiser Office, Dundee. Scotland. Annual meeting,
second Tuesday of October. President, Mr. J. A. Mackenzie; Vice-President,
Mr. J. L. Scott; Secretary and Treasurer, Archd. Campbell, Stewart Terrace,
Barnhill. Broughty Ferry, Scotland.

DUNDEE AND EAST OF SCOTLAND PHOTOGRAPHIC ASSOCIA-
TION. — Established 1879. Headquarters. 39 High Street. Dundee, Scotland.
Annual meeting, second Thursday of October. President, Prof. Steggall :
Vice-Presidents, W. F. Hill and W. H. Tittensor; Secretary and Treasurer,
V. C. Baird, Broi:ghty Ferry, N. B.

DUNEDIN PHOTOGRAPHIC SOCIETY— Established 1890. Head-
quarters, Dunedin, Scotland. President. C. W. Kerr; Vice-Presidents, A.
Hamilton and R. A. Ewing; Secretary. I. S. Kottowe Webb, care of National
Insurance Co., Dunedin ; Recording Secretary, W. Livingston ; Treasurer, I.
S. Kottowe Webb.

DURHAM CITY CAMERA CLUB.— Established January, 1892. Head-
quarters, Shakespeare Hall, Durham, England. Annual meeting, February.
President, Captain E. White; Vice-Presidents, E. J. Meynell and R. Moult;
Secretary, Robert Hanawell ; Treasurer. The Mayor of Durham (W. Gray.
Esq.).

EASTBOURNE PHOTOGRAPHIC SOCIETY. — Established 1892.
Headquarters. Caldecott Museum Building. Lismore Road, Eastbourne. Eng-
land. Annual meeting, first week in January. President, Henry Habgood.
M.D. ; Vice-Presidents, H. P. Molineux and H. M. Whitley; Secretary and
Treasurer, John J. Hollway.

EDINBURGH PHOTOGRAPHIC SOCIETY.— Established 1861. Head-
quarters. 38 Castle Street. Edinburgh, Scotland. Annual meeting, first
Wednesday in June. President. Alex. Eddington, F.J.I. ; Vice-Presidents,
James Hay and H. Scott Lander, Dep. Insp. (ien., R. N. ; Secretary. J. S. Mc-
Culloch, W. S,. loA George Street, Edinburgh ; Treasurer, George Cleland.

^74

Digitized by

Google

EVERTON CAMERA CLUB.— Established November i, 1896. Head-
quarters, Village Street, Everton, Liverpool, England. Annual meeting. De-
cember. President, I, Hawkins; Vice-Presidents, E. Allmey and T. Sander-
son; Secretary and Treasurer, W. Tansley, Village Street, Everton.

FAKENHAM DISTRICT CAMERA CLUB.— Established 1892. Head-
quarters, Lancaster Temperance Hotel, Fakenham, England. Annual meeting.
January. President, The Rev. William Martin, B.A. ; Vice-Presidents, Thos.
Charlton, Algernon Digby, M.A. ; Secretary and Treasurer, Henry Newson,
The Square, Fakenham, Norfolk. Letters, etc., to be addressed The Square,
Fakenham, Norfolk.

GLASGOW PHOTOGRAPHIC ASSOCIATION.— Established 1862.
Headquarters, Glasgow Philosophical Society's Rooms, Glasgow, Scotland.
President, John Stuart; Vice-Presidents, J. Craig Annan and Wm. Lang,
F.C.S. ; Secretary, Chas. Macdonald, 100 W. Regent Street; Treasurer, George
Bell.

GLASGOW AND WEST OF SCOTLAND AMATEUR PHOTO-
GRAPHIC ASSOCIATION.— Established 1883. Headquarters, 180 West
Regent Street, Glasgow, Scotland. Annual meeting, October. President,
Cameron Todd; Vice-President, J. C. Oliver; Secretary, Wm. Goodwin, 3
Lynedoch Street, Glasgow ; Treasurer, Wm. J. B. Halley.

GLENALMOND PHOTOGRAPHIC CLUB.— Established 1890. Head-
quarters, Trinity College, Glenalmond, Perthshire, Scotland. Annual meet-
ing, last Saturday in September. President, Arthur S. Reid, M.A., F.G.S, ;
Vice-President, E. S. Lyttell ; Secretary, T. N. J. Bell; Treasurer, J. G. Ken-
nedy.

GLOSSOP DALE PHOTOGRAPHIC SOCIETY, GLOSSO P.— Re-estab-
lished T883. President, E. Partington, Esq., J. P.; Vice-Presidents, S. H.
Wood, Esq., Col. W. Sidebottom, M.P. ; Secretary, T. W. Sharpe, i Pikes
Lane, Glossop; Treasurer, J. Hardman, Norfolk Square, Glossop, England.

GLOUCESTERSHIRE PHOTOGRAPHIC SOCIETY.— Established 1883.
Reconstructed 1887. Headquarters, Guildhall, Gloucester, England. Annual
meeting, third Monday in February. President, H. Medland; Vice-Presi-
dent, Dr. John Campbell ; Secretary, E. A. Ind, Northgate Street ; Treas-
urer, John Tibbills, Theresa Place.

GOLDSMITHS' INSTITUTE CAMERA CLUB.— Established 1893.
Headquarters, Goldsmiths' Institute. New Cross, London, S. E., England.
Annual meeting, October. President, I. W. Penfold, Esq. ; Vice-Presidents,
Messrs. W. I. Pope and A. A. Donald. F.R.P.S. ; Joint Secretaries, C. B.
Storey and A. H. Downey ; Treasurer, A. W. Allan.

GOSPEL OAK PHOTOGRAPHIC SOCIETY.— Established October,
1894. Headquarters, Congregational Schools, Lismore Road. Kentish Town.
Annual meeting, March. President. Rev. H. Le Pla ; Vice-President, F. H.
Hall ; Secretary, W. A. Palmer, 13 Dale Road, Kentish Town, N. W. ; Treas-
urer, J. E. Rayner.

275

Digitized by

Google

GUILDFORD PHOTOGRAPHIC SOCIETY.— Established 1890. Head-
quarters, 36 High Street, Guildford, England. Annual meeting, last Tuesday
in March. President, The Rt. Hon. the Earl of Onslow, G.C.M.G. ; Viee-
P residents, G. J. Jacobs, J. Russell, A. Horsley Hinton, G. C. Williamson, Sir
J. F. Leese, Q.C., M.P. ; Secretary, A. E. Moon; Treasurer, J. H. Nunn.

HACKNEY PHOTOGRAPHIC SOCIETY, LONDON.— Established
May, 1889. Headquarters, The Penibury Tavern, Lower Clapton, England.
Annual meeting, March. President, W. F. Fenton-Jones ; Secretary, Walter
Selfe ; Treasurer, Walter L. Barker.

HANDSWORTH PHOTOGRAPHIC .SOCIETY.— Established 1895.
Headquarters, College House, Hamstead Road, Handsworth, Birmingham.
England. Annual meeting, first Thursday in January. President, Philip
Whitehouse; Vice-Presidents, W. J. Foster. L.R.CP. ; E. F. Freeland, C. L.
Stait, W. J. Morgan, R.B.A. ; Secretary, A. E. Teague; Treasurer, C. F.
Jarvis.

HAWKES BAY CAMERA CLUB.— Established April 19, 1895. Head-
quarters, Regent Street, Napier (clubroom). Annual meeting, October. Pres-
ident, Dr. A. Milne-Thomson; Vice-President, F. Nelson; Secretary, W. Bes
wick (C.P.O.) ; Treasurer. G. N. Pierce.

HELIOS PHOTOGRAPHIC CLUB.— Established 1887. Headquarters, 55
Locksley Street, Burdett Road, London, E. Secretary and Treasurer, Henry
Everett, address as above.

HEREFORDSHIRE PHOTOGRAPHIC SOCIETY.— Established 1885.
Headquarters, Clarence House, West Street, Hereford, England. Annual
meeting, October. President, Aid. T. Blake, J.P. ; Vice-Presidents, A. Wat-
kins, Esq., T. J. Salway, Esq., J. Parker, Esq., C.E., W. M. Wilson, Esq., W.
J. Humfrys, Esq., H. H. Parry, Esq. ; Honorary Secretary, Mr. Cecil Gethen,
9 St. Nicholas Street, Hereford; Treasurer, Mr. W. E. Haines, High Town,
Hereford.

HOLMFIRTH AMATEUR PHOTOGRAPHIC SOCIETY.— Headquar-
ters, Holmfirth, England. Annual meeting, August. President, Arthur Pres-
ton ; Secretary and Treasurer, David Bilson, Birchin House, Holmfirth.

HUDDERSFIELD NATURALIST AND PHOTOGRAPHIC SOCIETY.
— Established 1847. Headquarters, Y. M. C. A. Lecture Room. Annual meet-
ing, December. President, G. T. Porritt, F.L.S., F.E.S. ; Vice-Presi-
dents, H. G. Brierley, T. W. Woodhead; Honorary Secretary, A. Clarke,
9 St. Andrews Road, Huddersfield, England; Treasurer, A. W. Whiteley.

IPSWICH SCIENTIFIC SOCIETY, PHOTOGRAPHIC SECTION.—
Established 1869. Headquarters, Museum, Ipswich, England. Annual meet-
ing, January. President, The Mayor, E. P. Ridley, F.R.G.S. ; Secretary,
Frank Woolnough.'

276

Digitized by

Google

KEIGHLEY AND DISTRICT PHOTOGRAPHIC ASSOCIATION.—
Established January, 1889. Headquarters, Mechanics' Institute, Keighley,
England. Annual meeting, September, 2d Tuesday. President, Thomas
Heaps, Esq.; Vice-Presidents, Messrs. Gill, Keighley and Pouting; Secre-
taries, Wm. H. Hainsworth, bb. Belgrave Rd., Keighley, and C. H. Smith;
Treasurer, Walter Mitchell.

KING WILLIAMS TOWN ART AND CAMERA CLUB.— Established
1898. Headquarters, King Williams Town. Annual meeting, September.
President, T. N. Dyer, Esq. (Mayor); Chairman, Dr. Chute; Secretary, Dr.
H. A. Spencer, Maclean Street; Treasurer, A. G. Doble, Esq., Maclean Street.

LANCASTER PHOTOGRAPHIC SOCIETY.— Established 1889. Head-
quarters, Stonewell (Lancaster), England. Annual meeting, last Tuesday in
March. President, Alan Garnett, Esq. ; Vice-Presidents, J. W. Pickard and R.
W. Wearing, Esqs. ; Secretary, W. Briggs ; Treasurer, J. T. Miller, Esq.

THE LEAMINGTON AMATEUR PHOTOGRAPHIC SOCIETY.— Es-
tablished about 12 years. Headquarters. Pump Room, Leamington, England.
Annual meeting, first week in October. President, Rev. Ed. Healy ; Honorary
Secretary, Signor Aspa; Treasurer, B. Magrath, Esq.

LEEDS PHOTOGRAPHIC SOCIETY.— Established 1852. Headquarters,
Philosophical Hall. Annual meeting, December. President, Godfrey Bingley ;
Vice-Presidents, Peter Gilston and James Taylor; Secretary, J. C. Coultas,
Chapel Lane, Headingly; TrroJMrrr, Thos. Carter, Leeds, England.

LEWES PHOTOGRAPHIC SOCIETY.— Established 1888. Headquar-
ters, Municipal Buildings. Annual meeting, September. President, S. I.
Wightnian, Esq.; Vice-President, J. Tunks, Esq.; Secretary and Treasurer,
Geo. Carpenter, 81 High Street, Lewes, England.

LIVERPOOL AMATEUR PHOTOGRAPHIC ASSOCIATION.— Estab-
lished 1863. Headquarters, Percy Buildings, Eberle Street. Liverpool, Eng-
land. Annual meeting, third Thursday in January. President, Paul Lange;
Vice-Presidents, John H. Welch and Dr. Llewellyn Morgan; Secretary, F. A.
Schier water; Treasurer, P. H. Phillips.

LOUGHBOROUGH AMATEUR PHOTOGRAPHIC SOCIETY.— Es-
tablished 1888. Headquarters, Devonshire Square, Loughborough, England.
Annual meeting, April. President, W. C. Barder, Esq.; Secretaries, W.
Clarke, H. Kelsey; Treasurer, H. Kelsey.

MANCHESTER AMATEUR PHOTOGRAPHIC SOCIETY.— EstaV
lished 1885. Headquarters, Manchester Athenaeum and 15 Brazennose Street,
Manchester, England. Annual meeting, last Tuesday in January. President,
T. Morley Brook, Esq. ; Vice-Presidents, Rev. H. W. Dick. G. E. Miller, J.
W. Wade, G. H. B. Wheeler ; Secretary, J. W. Parrott, 3 Elm Road, Altrin-
cham ; Treasurer, Chas. Dawson, Esq., 10 Chepstow Street, Manchester.

277

Digitized by

Google

MANCHESTER Y. M. C. A. PHOTOGRAPHIC CLUB— Established
January, 1890. Headquarters, Y. M. C. A., 56 Peter Street, Manchester, Eng-
land. Annual meeting. January. President, Geo. T. White, Esq. ; Vice-
President, A. C. Harrison, Esq.; Honorary Secretary, J. W. Price; Honorary
Treasurer, Geo. Dixon.

MIDLOTHIAN CAMERA AND PORTFOLIO CLUB.— Established
1889. Headquarters, Edinburgh, Scotland. Annual meeting, November.
President, Dr. W. Stewart ; Vice-President, T. Wilson ; Secretary, Alexander
Calder; Treasurer, R. C. Ewart.

THE MONKLANDS PHOTOGRAPHIC SOCIETY.— Established Feb-
ruary. 1893. Headquarters, Airdrie, Scotland. Annual meeting, first Tuesday
of October. President, R. C. Piatt, Esq.; Vice-President, W. B. Hossack.
Esq. ; Secretary, Wm. Dixon Gray, Esq. ; Treasurer, James S. Lewis.

NEWTON HEATH CAMERA CLUB.— Established 1893. Headquarters.
Wesleyan School, Oldham Road, Newton. England. President, Mr. Fallows:
Vice-President, Mr. Cresswell ; Secretary, J. Fortune.

NORTH MIDDLESEX PHOTOGRAPHIC SOCIETY.— Established
1888. Headquarters, Jubilee House, Hornsey Road, N. London. Annual
meeting, second Monday in January. Weekly meetings. President, J. C. S.
Mummery ; Vice-Presidents, W. Brame Goodwin and A. H. Lisett ; Secretary,
H. Stuart ; Treasurer, Henry Smith.

NOTTINGHAM CAMERA CLUB.— Headquarters, Mechanics' Institu-
tion, Nottingham, England. Annual meeting, first Friday in October. Presi-
dent, His Grace the Duke of Newcastle; Secretary, Lawrence Wilkens. Esq.

OLDHAM PHOTOGRAPHIC SOCIETY.— Established May, 1867. Head-
quarters, The Lyceum. Union Street, Oldham, England. Annual meeting, last
Thursday in October. President, William A. Nash; Vice-President, R. T.
Taylor; Secretary, Thos. Widdop, 17 Queen Street, Oldham; Treasurer, T.
Heywood.

PAISLEY PHOTOGRAPHIC SOCIETY.— Established 1857. Headquar-
ters, 9 Gauze Street, Paisley, Scotland. Annual meeting. April. President,
Robert Ferrier; Vice-President, Thomas Reid, Jr.; Secretary, Robert Milne,
21 Glenview Terrace, Paisley ; Treasurer, Andrew Morris.

PETERBORO' PHOTOGRAPHIC SOCIETY.— Established 1887. Head-
quarters, for monthly meetings only, the "Bedford" Hotel. Annual
meeting, first Monday in June. President, Dr. G. Kirk wood; Vice-Presi-
dents, Dr. Walker, E. Worthington, G. W. Leigh, Esq. ; Secretary, A. W.
Nicholls, II Cromwell Road, Peterboro', England; Treasurer, H. C. Lilley.

PHOTOGRAPHIC SECTION NORTHAMPTON NATURAL HIS-
TORY AND FIELD CLUB.— Headquarters, 8 Abington Street, Northamp-
ton, England. Annual meeting (no fixed date). President, H. Manfield. Esq.;
Secretary and Treasurer, Charles H. Dorman. A. R.I. B. A.

278

Digitized by

Google

t^HOTOGRAPHIC SECTION OF THE YORKSHIRE PHILOSOPHI-
CAL SOCIETY. Eslablishtd 1888. Headquarters, The Museum, York, Eng-
land. Annual meeting, October, first Wednesday. President, Tempest Ander-
.<on. Esq., M.L)., J.P. ; Seeretary and Treasurer, H. Dennis Taylor, F.R.A.S.,
Trenfield, Holgatc. York.

PHOTOGRAPHIC SOCIETY OF IRELAND.— Headquarters, 35 Daw-
son Street, Dublin, Ireland. Annual meeting, April. President, Alfred Wer-
ner; Vice-Presidents, T. Ruthven, A. M. Geddis; Secretary, Victor E, Smyth;
Treasurer, Wm. Bewley.

THE POSTAL PHOTOGRAPHIC CLUB.— Established October, 1886.
This Club is the oldest postal photographic society in England, with the ex-
ception of "The Talbot Album Club." which was started a few months earHer
in the same year. Headquarters, Walton Manor Lodge. Oxford, England.
Number of members limited to 30. Secretary and Treasurer, Reginald A. R.
Bennett. MA. (Oxon).

PUTNEY PHOTOGRAPHIC SOCIETY.— Established 1890. Headquar-
ters, 102 High Street, Putney, Surrey, England. Annual meeting. May. Pres-
ident. R. W. J. Sheppard; lice-Presidents, John A. Hodges. F.R.P.S., H.
Kimber, M.P.. and L. S. Zachariasen ; Secretary and Treasurer, Wm. Martin,
4 Lower Parkfields, Putney, S. W.

RAM SG ATE CAMERA CLUB.— Established 1894- Headquarters, Vic-
toria Temperance Hotel. Ramsgate, England. Annual meeting, March. Pres-
ident, vacant; rice-Presidents, E. E. Wastall, Esq.. J.P. ; W. C. Bull, B.A.,
and W. T. Davey, Esq. ; Secretary and Treasurer, Frederick I. Bear, i Guil-
ford Lawn.

RICHMOND CAMERA CLUB.— Established 1890. Headquarters, Grey-
hound Hotel, Richmond. England. Annual meeting. May. President, F. P.
Cembrano; I'ice-Presidents, E. D. Purcell. G. Ardaseer; Secretary, C. H.
Davis ; Treasurer, J. B. Huddy.

ROCHDALE AND DISTRICT PHOTOGRAPHIC SOCIETY.— Estab-
lished 1890. Headquarters, unsettled. President, I. A. Bright, Esq., J.P. ;
Secretaries, H. and W. Bamford. 242 Yorkshire Street. Rochdale. England.

RODLEY PHOTO SOCIETY.— Established 1893. Headquarters, Rodley,
near Leeds, England. Annual meeting. January. President, A. G. Bentley ;
Secretary and Treasurer, H. Crossley, Rodley, near Leeds.

ROTHERHAM PHOTOGRAPHIC SOCIETY.— Established October,
1S89. Headquarters. 5 Frederick Street. Rotherham, England. Annual meet-
ing, October. President, Dr. F. B. Judge Baldwin; Vice-Presidents, E. I.
Hubbard. M.S.A., James Leadbeater and James Turner; Secretary, Henry C.
Hemmingway, F.U.I. ; Treasurer, Alfred S. Lyth.

ROYAL PHOTOGRAPHIC SOCIETY.— Established 1853. Headquar-
ters, 66 Russell Square, London. W. C. Annual meeting, second Tuesday in
February. President, The Rt. Hon. the Earl of Crawford, K. T. ; Honorary
Secretary, Maj.-Gen. J. Waterhouse. I.S.C. ; Assistant Secretary, A. W. W.
Bartlett; Treasurer, George Scannell.

-279

Digitized by

Google

SCARBOROUGH AND DISTRICT PHOTOGRAPHIC SOCIETY.—
Established 1893. Headquarters, The Museum, Scarborough, England. An-
nual meeting, October. President, Mr. James Henry Rountree; Vice-Presi-
dent, Dr. Frederic Dale; Secretary and Treasurer, Mr. Harry Wanless, 31
Westborough, Scarborough.

^ SHEFFIELD OPTICAL LANTERN SOCIETY.— Established 1890.
Headquarters, Saint Paul's Schools, Cambridge Street. Annual meeting, Oc-
tober 20. President, Dr. J. A. Manton; Vice-Presidents, Messrs. J. H. Lygo,
J. Clowes ; Secretary, T. G. F. Allen, 59 Melrose Road, Sheffield, England.

SOUTHSEA AMATEUR PHOTOGRAPHIC SOCIETY.— Established
1888. Headquarters, 5 Pembroke Road, Portsmouth, England. Annual meet-
ing, January. President, Mr. G. Whitefield; Vice-President, Mr. H. T. Lilly,
M.A. ; Secretary, M. F. J. Mortimer; Treasurer, Mr. Gilbert Wood, A.R.I.B.A.

STEREOSCOPIC CLUB, THE.— President, James Whitelegg; Secre-
tary, W. I. Chadwick, 26 King Street, Manchester, England.

STEREOSCOPIC SOCIETY, THE.— Established 1893. Headquarters.
Huntly, N. B., Scotland. President, W. Stainthorpe, M.D., J.P. ; Vice-Presi-
dents, Victor Selb, F. Dunsterville; Secretary and Treasurer, B. Diveri, B.A.

SUN & CO.; POSTAL PHOTOGRAPHIC CLUB.— Established 1886.
Secretary, Martin J. Harding, Myrtle Villa, Hawthorn Road, Shrewsbury.
England.

SWANSEA .\RT SOCIETY (name recently changed), Swansea, England.
Established 1885. Headquarters, Royal Institution of South Wales. Annual
meeting, November, [^resident. Colonel Morgan, R.E. ; Secretary, Wm. Ter-
rill ; Treasurer, Arch. Goldie.

TALBOT ALBUM CLVB,— Honorary Secretary, Fred. H. Davies, 265
Coventry Road, Birmingham, England.

TUNBRIDGE WELLS AM.ATEUR PHOTOGRA^PHIC ASSOCIA-
TION. — Established January, 1887. Headquarters, Club Room, Mechanics'
Institute. Tunbridge Wells, England. Annual meeting, January. Patron, Sir
David Salomons, Bt., M.A. ; President, F. G. Smart, M.A. ; Vice-Presidents,
K. R. Ashton, Rev. A. T. Scott. M.A., Rural Dean; Secretary, Joseph Cham-
berlain ; Treasurer, B. Whitrow.

UTTOXETER PHOTOGRAPHIC SOCIETY.— Established 1890. Head-
quarters. Carter Street, Uttoxeter, England. Annual meeting, April. Presi-
dent, Rev. C. F. L. Barnwell ; Vice-Presidents, Hugo Meynell, Esq., and F. A.
Bolton, Esq. : Secretary, Alfred Parker, Esq. ; Treasurer, R. T. A. Hardy,
Esq.

WALSALL AMATEUR PHOTOGRAPHIC SOCIETY.— Established
1892. Headquarters, George Hotel, Walsall, England. Annual meeting,. Sep-
tember 30. President. S. A. Newman, Esq. ; Secretary and T-reasurer, E. A.
Day, 14 Westbourne Road, Walsall.

280

Digitized by

Google

WALTON PHOTOGRAPHIC SOCIETY, LIVERPOOL.— Established
1889. Headquarters, Walton Church Schools. Annual meeting, February.
President, Geo. Latimer; Secretary and Treasurer, J. Bickerstaff, 79 Ran-
cliffe Road, Walton, Liverpool, England.

WARRINGTON PHOTOGRAPHIC SOCIETY.— Established 1887. Head-
quarters, Warrington Technical Institute. Annual meeting, January. Presi-
dent, John Fairhurst ; Vice-Presidents, H. N. Houghton, H. Bond ; Secretary,
F. W. Knowles, 77 Bridge Street, Warrington, England; Treasurer, Peter
Dalton.

WEST LONDON PHOTOGRAPHIC SOCIETY.— Established 1888
Headquarters, Broadway Lecture Hall, Hammersmith. Annual meeting, sec-
ond Friday in October. President, G. Lamley, Esq. ; Past President, G. F.
Blackmore, Esq. ; Secretary, Alfred Ebes, 183 The Grove, Hammersmith, Eng-
land; Treasurer, H. Selby.

WINDSOR AMATEUR RESEARCH CAMERA CLUB.— Established
1893. Headquarters, Montpelier House, Belfast, Ireland. Annual meeting,
December. President, Lord Mayor of Belfast, James Henderson, Esq., J.P. ;
rice-President, James Collins; Secretary, Wm. Jas. Gibson, Montpelier House,
Belfast ; Treasurer, Robert B. Gardiner.

WOOLWICH PHOTOGRAPHIC SOCIETY.— Established 1892. Head-
quarters, St. John's Schools, Woolwich, England. Annual meeting, October,
second Thursday. President, Mr. W. H. Dawson; Vice-Presidents, Col. C. D.
Davies and Mr. C. Churchill ; Secretary and Treasurer, Frederick W. Nachen.

WORCESTERSHIRE PHOTOGRAPHIC SURVEY SOCIETY.— Es-
tablished March 16, 1896. Headquarters, Victoria Institute, Worcester, Eng-
land. Annual meeting, January or February. President, J. W. Willis Bund,
Esq.; Secretary, Thos. J. Hobson, 15 Albany Terrace, Worcester; Treasurer,
Mrs. Berkeley, Cotheridge Court, Worcester.

YORK PHOTOGRAPHIC SOCIETY.— Established 1887. Headquar-
ters, Victoria Hall, York, England. Annual meeting, January. President, W.
Weatherill ; lice-President, A. H. Hardcastle; Secretary, Frederick G. P.
Benson ; Treasurer, R. Bainbridge.

OTHER FOREIGN SOCIETIES

AMATEUR F©TOGRAFEN VEREENIGING AT AMSTERDAM
(HOLLAND). — Established September i, 1887. Headquarters, Handboog-
straat 2. Meetings on Wednesday, fortnightly. President, Ign. Bispinch;
Secretary, D. Wilmerink ; Treasurer, A. W. de Flines.

AMATEUR PHOTOGRAPHIC ASSOCIATION OF VICTORIA.— Es-
tablished June 18, 1883. Headquarters, Melbourne. Annual meeting, March.
President, J. C. Kaufmann, LL.D. ; Vice-Presidents, E. C. Bell, H. C. Ward ;
Secretary, J. H. Harvey; Treasurer, F. W. Miscamble.

281

Digitized by

Google

AMATEUR PHOTOGRAPHIC SOClErY OF MADftAS.— Headquar-
ters, Madras. India. Annual meeting, January. President, C. Michie Smith,
B.Sc, F.R.S.E.; I'ice-Presidents, F. Dunsterville, F.R.P.S., C. E. Phipps;
Honorary Secretary, Samuel Jackson, A.R.C.Sc. (Lond.), F.I.C. ; Honorary
Treasurer, V. (i. Lynn.

AMATEUR PHOTOGRAPHEN-VEREIN IN LIEGNITZ.— Established
6th I)eceml>er, 1891. Mitglied des Verbandes deutscher und oesterreichischer
Amateur- Photographen, Regelmassige Vereinssitzungen Freitag nach dem i.
und 15. eines jeden Monats. Annual meeting, im Februar jedes Jahres.
President, Max Engler, Ober-Postassistent ; Secretary and Treasurer, Erd-
mann Loebner.

AMATOR FOTOGRAFEN, CHRISTIANIA.— Established April 24, 1888.
Headquarters, Christiania. President, Dr. Oscar Platon, Professor at the
University, Christiania; rice-President, A. T. Blixrud; Secretary, Alb. Ryn-
ning; Treasurer, I. J. Morch.

AMATEUR-PHOTOGRAPHEN-VEREENIGING -DAGUERRE."— Es-
tablished Groningen, Holland. President, G. P. Smith; Vice-President, R.
Roelfsema Pyn; Secretary, N. de Jager; Treasurer, J. Goeter.

ASSOCIATION BELGE DE PHOTOGRAPHIE.— Established Brussels.
Annual meeting, April. President, J. Casier; Vice-Presidents, J. Maes and F.
Massange de Louvrex ; Secretary, M. Vanderkindere ; Treasurer, A. Nyst.

ASSOCIAZIONE DEGLI AMATORI DI FOTOGRAFIA.— Established
Roma. Headquarters, Via Nazionale 143a. President, Antonio Ruffo, Prin-
cipe della Scaletta ; Vice-President, Comm. Carlo Encrani ; Secretary, Aev.
Giuseppe Martini ; Treasurer, Br. Francesco Bondesio.

AUCKLAND PHOTOGRAPHIC CLUB.— Established 1885. Headquar-
ters, Club Rooms, Grey Street. President, Dr. J. Logan Campbell ; Vice-
Presidents, J. R. Hanna, Jos. Martin, Ele Sayton ; Secretary, H. R. Arthur,
care Auck. Gas Co. ; Treasurer, W. Gatenby.

•CAMERA & CO." A POSTAL PHOTOGRAPHIC CIRCULATING
CLUB. — Established May, 1891. Headquarters, 14 Market Street, Ponty-
pridd, South Wales. Monthly portfolios. Honorary Secretary, Albert O.
Forrest.

CAPE TOWN PHOTOGRAPHIC CLUB.— Established 1890. Headquar-
ters, Y. M. C. A., Cape Town. Annual meeting, first Thursday in Novem-
ber. President, David Gill, LL.D., F.R.S., etc. ; Vice-President (changes an-
nually) ; Secretary and Treasurer, Hy. Bishop, Afr. Bankg. Corp., Cape Town.

CIRCOLO FOTOGRAFICO LOMBARDO.— 400 members. Milano. Via
Principe Umberto, 30. President, Conte Cesare del Majno; Vice-President,
Zambellini Aw. Michele; Secretary, Borghi Dott. Giuseppe; Director, Chiz-
zolini Ing. Antonio; Manager, Ritter Vittorio; Councillors, Bassani Gigi,
Canetta Rag. Ettorc; Auditor of Accounts, Vittorio Zuccoli-Ing. Piero Fon-
tana.

282

Digitized by

Google

CLUB ALPIN SUISSE.— Fonde en 1663. Headquarters, Neuchatel
(Comite central). President, M. Engene Colomb; Vice-President, M. Alex-
andre Perrochet ; Secretary, Dr. Charles Meckenstock ; Treasurer, M. Fritz
Sandoz.

CLUB DER AMATEUR FOTOGRAFEN.— Established Salzburg. Griind-
ungs Jahr 1891. Sitzunzen Monatlich. President, KK. Ober Commiss Adolf
Porm ; Vice-President, Br. von. Lilien, Rittmeister ; Secretary, kk. forstsecretar
Dr. Franz Huemer, Fiinphaus.

CORRESPONDENZ-VEREIN VON FREUNDEN DER PHOTO-
GRAPHIE.— Established 1889. Die Mitglieder, die innerhalb Deutschland
wohnen, verkehren mit einander durch Wanderkasten. Hauptordner, Pastor
M. Allihu ; Ordner des I. Kreises, O. Kiillenberz ; des II. Kreises, Graf. Roth-
kirch ; des III. Kreises, G. Richter.

DEUTSCHE GESELLSCHAFT VON FREUNDEN DER PHOTO-
GRAPHIE. — Established 1887. Headquarters, Konigliche Kriegs Akademie.
Annual meeting, Photographische Rundschau. President, Geheimrath Prof.
Dr. Tobold; Secretary, Dir. Schultz-Hencke ; Treasurer, Banquier Gvemann.

DEUTSCHER PHOTOGRAPHEN-VEREIN.— Established 1876 (29 De-
zember). Headquarters, Weimar. Alljahrlich eine Wanderversammlung.
President, K. Schwier. Weimar; Vice-President, Karl Wunder, Hannover;
Secretary, C. Kesselhuth, Hildesheim ; Treasurer, K. Schwier, als Geschafts-
fuhrer.

DILETTANTI FOTOGRAFI DI NAPOLI (CAMERA CLUB).— Estab-
lished 1891. Headquarters, Villa Communale Napoli. Annual meeting, De-
cembre e Gennaio di ogni anno. President, Duca di Schiavi ; Vice-President,
Sigr. Waldemaro Fuchs ; Secretary, Sigr. Cav. Raffaele Montuoro ; Treasurer,
Sigr. Cav. Luigi Fortunato.

GORDON COLLEGE AMATEUR PHOTOGRAPHIC ASSOCIATION.
— Established 1889. Headquarters, Gordon College, Geelong. Annual meet-
ing, July. President, H. G. Roebuck, Esq. ; Vice-Presidents, W. H. Thacker,
Esq.. J. Farr Dentry, Esq.; Secretary, J. Hammerton, Jr.. "Burngrease." Gee-
long, Vic. ; Treasurer, R. Collins Hocking, Esq.

MONTREAL CAMERA CLUB.— Established 1890. Incorporated 1893.
Headquarters, 4 Phillips Square, Montreal. Annual meeting, first Tuesday in
May. President, George Sunmer; Vice-President, Alfred W. Cole; Secre-
tary and Treasurer, A. Clarence Lyman, 157 St. James Street, Montreal.

NELSON CAMERA CLUB, NELSON, N. Z.— Established 1888. Head-
quarters, Nelson. Annual meeting. May. President, C. Y. Fell ; Secretary,
Arthur H. Patterson; Treasurer, F. Washbourne.

NORTHERN TASMANIAN CAMERA CLUB.— Established 1889. Fifty-
one members. Headquarters, Launceston, Tasmania. Annual meeting, July.
President, Wm. Gibson; Vice-Presidents, F. C. Birchall, R. C. Kermode, W.
H. Twelvetrees; Secretary and Treasurer, F. Styant Browne, 112 Brisbane
Street, Launceston.

283

Digitized by

Google

OTTAWA CAMERA CLUB, OTTAWA. CANADA.— Established 1894.
Headquarters, Ottawa, Canada. Annual meeting, 2d Thursday in October of
each year. President, William Ide; Vice-President, Miss I. M. Ballantyne;
Secretary and Treasurer, A. A. Pinard.

PHOTO-CLUB DE LYON.— Established en 1888. Headquarters, 12 Rue
de la Charite. Annual meeting, December. President, Regis Flachat; Vice-
Presidents, Lucien Begule et C. Bernard ; Secretary, Charles Bouchage ; Treas-
urer, Ferdinand Abel.

PHOTO-CLUB ORAN, ALGERIA.— Established 1892. Headquarters, 12
Boulevard Seguin. Annual meeting, second Sunday in December. President^
A. Godillot, notaire; Vice-President, Capitaine Michel, du 2d Regiment des
Zouaves; Secretary, J. S. Levy, 51 Bd. National; Treasurer, E. Brenant.

PHOTO-CLUB ROUENNAIS.— Societe d'Amat^urs Photographes, fon-
dee 1891. Siege social,. Hotel des Societes savantes. Atelier de pose — Labora-
toire — Bibliotheque, salle de lecture, ouvrages et journaux sp6ciaux, Rue de la
Republique, 43. President, M. Abel Buguet, A. ; Vice-Presidents, MM. Louis
Chesneau-Lethuillier, Albert Marguery ; Treasurer, Charles Lebert ; Secretary,
Maurice Lucas, rue du Sacre, 9; Assistant Secretary, Renee Duval, rue Dan-
guy, I-

PHOTOGRAPHIC SOCIETY OF INDIA, THE.— Established 1886.
Headquarters, 57 Park Street, Calcutta. Annual meeting, June. President, P.
Donaldson, Esq. ; Vice-Presidents, T. A. Pope, Esq., and N. Gianna Couplo,
Esq. ; Secretary; W. R. Donogh, Esq. ; Treasurer, C. H. Coates, Esq.

PHOTOGRAPHISCHE GESELLSCHAFT WINTERTHUR.— Estab-
lished 1893. Headquarters, Winterthur, Switzerland. Meetings, circa
12. President, A. Sulzer-Seifert; Vice-President, Dandliker; Secretary,
Wurz; Treasurer, Mayerhofer

PHOTOGRAPHISCHER VEREIN ZU BERLIN.— Established 1863.
Headquarters, Architekten-Vereinshaus, Berlin, S. W. Meetings, Jeden
3ten Donnerstag im Monat. President, Hofphotograph Paul Grund-
ner; Vice-President, Hofphotograph T. Reichard; Secretary, Director D.
Schultz-Hencke ; Treasurer, E. Martini i. fa. Schippang & Co.

PHOTOGRAPHISCHER VEREIN IN GOTTINGEN.— Established Mai,
1893. Headquarters, Hotel "Englisher Hof" in Gottingen. Annual meeting,
April. President, Dr. Gotting; Secretary, Professor Dr. Abegg; Treasurer,
Horstmann.

PHOTOGRAPHISCHE GESELLSCHAFT.— Established 1861. Head-
quarters, in Wien. Annual meeting, Januar. President, Ottomar Volkmer;
Vice-President, Dr. Carl Bohm Edler von Bohmersheim ; Secretary, Dr. Jo-
seph Szekely; Treasurer, Ludwig Schrank.

PHOTO-UNION FRANCAISE.— Headquarters, Rue du Pont-Mouja
No. I. (20 membres.) Reunion tous les mois. President, Aeine Voig^nier;
Vice-President, Charles Schmitt ; Secretary, Felix Roy; Treasurer, Henri
Chouvenin.

284

Digitized by

Google

PORT ELIZABETH AMATEUR PHOTOGRAPHIC SOCIETY.— Es-
cablished 1890, Port Elizabeth, So. Africa. Headquarters, The Studio Athe-
naeum. Annual meeting, third Thursday in July. President, A. WaJsh, Esq. ;
Chairman, W. Alcock, Esq. ; Secretary, F. C. Raph ; Treasurer, J. Lewis.

QUEENSLAND AMATEUR PHOTOGRAPHIC SOCIETY.— Estab-
lished 1883. Headquarters, Brisbane. Annual meeting, January (third
Wednesday). President, Dr. John Thomson; Vice-Presidents, Dr. Wheeler,
Mr. C. J. Pound, Mr. H. W. Mobsby; Secretary, Mr. W. C. Voller; Treas-
urer, Mr. J. L. Kinloch.

SCHWEIZERISCHER PHOTOGRAPHEN VEREIN.— Established 1886.
President, E. Pricam, Genl ; Vice-President, R. Ganz, Ziirich ; Secretary, Her-
mann Linck, Winterthur; Treasurer, A. Wicky, Bern; Bihliothekar, Ph.
Linck, Zurich.

SOCIETE DES AMATEURS PHOTOGRAPHES DE PARIS.— Estab-
lished a Paris. Headquarters, 339 rue St. Martin. President, H. Laedlein ;
Vice-PVesident, Dufresne; Secretary, Maxime Brault, 97 Bi Malesherbes
(Paris) ; Treasurer, Mongodin.

SOCIETE D'ETUDES PHOTOGRAPHIQUES DE PARIS.— Head-
quarters a. Paris, 11 rue Salneuve. chez M. Balagny. Assemblee Generale tous
les mois. President, Balagny, Docteur en Droit ; Vice-President, Villain,
chimiste; Secretary, Normand, membre de ITnstitut de France; Treasurer, M.
Lepetit.

SOCIETE FRANCAISE DE PHOTOGRAPH I E.—Fondee en 1854- Head-
quarters 76 rue des Petits Champs, Paris. Reunions le ler Vendredi de chaquc
mois sauf en Septembre et Octobre. President, M. Lippmann ; Vice-President,
M. A. Davanne; Secretary, M. L. Pector; Treasurer, M. Andra.

SOCIETE GENEVOISE DE PHOTOGRAPHIE.— Established 1881.
Headquarters, Grand Mesel i., Geneve. Meeting, every month. President,
Dr. A. Mazel; Vice-President, Dr. E. Batault; Secretary, T. Bosson; Treas-
urer, Ls. Jaquerod.

SOCIETE PHOTOGRAPHIQUE DE RENNES.— Headquarters, 4 rue de
la Chalotais. President, Georges Fontaine; Vice-President, Vicomte Ch. de
Rengerve; Secretary, Auguste Morel.

SOCIETE PHOTOGRAPHIQUE PROFESSIONALE, SUCCEDANT A
CERCLE DES EFFIGISTES ET SOCIETE DES EMPLOYES PHOTO-
GRAPHES.— Established 1878, 30 membres. Headquarters, Place St. Ger-
vais, 6. Annual meeting, Juillet. Reunion ler Lundi de chaque mois. Pres-
ident, T. Dovaz, 3. rue des Minoteries; Vice-President, F. Mazuy, 4 Place
Cornavin; Secretary, A. Chevalley, rue Pradier, 9; Treasurer, F. Barral, rue
des Bains. Toutes les communications au Secretaire.

SOUTH AUSTRALIAN PHOTOGRAPHIC SOCIETY.— Established
1885. Headquarters, Chamber of Manufactures, Adelaide. Annual meeting.
2d Thursday in July. President, C. L. Whitham; Vice-Presidents, R. F. Grif-
fiths and Andrew Scott, B.A. ; Secretary, J. Gazard, in King William Street,
Adelaide ; Treasurer, S. P. Bond.

2K5

DigitT^ed by

Google

TORONTO CAMERA CLUB.— Incorporated 1893. Headquarters, Forum
Building, Yonge and Gcrrard Streets. Annual meeting, ist Monday in No-
vember. President, Edmund E. King, M.D. ; Vice-President, W. H. Moss;
Secretary and Treasurer, John J. Woolnough.

TORONTO CENTRAL Y. M. C. A. CAMERA CLUB. THE.— Estab-
lished 1899. Headquarters, Toronto, Ontario. President, Dr. Price; Vice-
President, W. R. Moffat; Secretary and Treasurer, John Powell.

UNION NATIONALE DES SOCIETES PHOTOGRAPHIQUES DE
FRANCE.— Established en 1892. Headquarters, 76 Rue des Petits-champs,
Paris. Annual meeting, Pentecote. President, M. Janssen, de ITnstitut;
Vice-President, M. Bucquet (M.) ; Secretary, M. Pector (S.) ; Treasurer,
M. Berthaud (M.).

VEREIN VON FREUNDEN DER PHOTOGRAPHIE.— Established
Braunschweig. 1889. Headquarters, Hotel Preussischer Hof. Meeting, Monat-
lich, am Mitwoch nach dem I5tcn. President, Dr. phil. David Kaempfer;
Vice-President, Dr. med. Felix Aronheim; Secretary, Adolf Steinhausen;
Treasurer, Willy Berge.

VEREIN VON FREUNDEN DER PHOTOGRAPHIE ZU JENA.-
Establishcd i. September, 1891. Meetings, Jeden i. und ■ 3. Don-
nerstag im Monat im Gasthof zur Guten Quelle. Praktischer Rathgeber.
President, Konrad Roch: Vice-President, C. Hoffmann; Secretary, Oscar
Trinkler; Treasurer, Carl Spath.

VEREIN ZUR FOERDERUNG DER PHOTOGRAPHIE.— Established
1864. Headquarters, Berlin. Annual meeting, i. April. Meetings twice a month.
President, Prof. O. Raseldorff; Vice-President, Dr. E. Vogel; Secretary, P.
Hanneke, W. Bulowstr. 99 ; Treasurer, Just. Schmidt, W. Liitzow 27.

VEREIN ZUR PFLEGE DER PHOTOGRAPHIE UND VERWAND-
TER KUENSTE.— Established in 1875. Headquarters. Frankfort-a-M. An-
nual meeting in October. President, Professor F. Schmidt, at Karlsruhe;
Vice-President, Herm. Maas, Photographer, Frankfort-a-M. ; Secretary, Th.
Haake. Manufacturer, owner of the firm of Haake & Albers, at Frankfort-
a-M. ; Treasurer, C. Bottcher, Photographer, Frankfort-a-M.

WELLINGTON CAMERA CLUB.— Established 1892. Headquarters,
Wellington, New Zealand. Annual meeting, second Thursday in October.
President, A. de Bathe Brandon; Vice-Presidents, T. McLellan and A. C.
Gifford: Secretary, J. A. Heginbotham; Treasurer, T. M. Hardy.

28^)

Digitized by

Google

TABLES

28r

Digitized by

Google

Digitized by

Google

TABLES

TABLE OF THE ELEMENTS:

THEIR STBfBOLS, ATOMIC WEIGHTS, AND EQUIVALENTS.

Sym-
bol.

I
Aluminium... Al

Antimony 8b

Arsenic As

Barium.

Beryllium

Bismuth

Boron

Bromine

Cadmium

Cffisium

Calcium

Carbon

Cerium

Chlorine

Chromium

Cobalt

Copper

Didymium _. .

Erbium

Fluorine

Gallium

Gold.

Hydrogen

Indium

Iodine

Iridium

Iron

Lanthanum...

Lead

Lithium . . ) Li

Magnesium . . . ; Mg
Manganese ... Mn

Atomic
Weight.

Eqaiva- ,.
lent. I

Sym-
bol.

Atomic
Weight.

27.02
120.
74.9
180.8
9.08
208.
10.9
79.75
112.
188.
89.9
11.97
189.9
85.37
52.4
69.
63.2
143.0
165.9
19.1
I 69.
197.
1.
113.4
I 126.53
I 192.5
; 55.9
138.5
206.4
7.01
24.
55.

9.007
40.
24.97
684

4.54
69.83

8.66
79.75
56.
132.7
19.95

2.99
46.6
a5.87
26.2
29.5
81.6
47.8
55.3
19.1
23.
65.66

1.
37.8
120.53
48.125
27.95
46.17
103.2

7.01
12.
27.5

I Mercury Hg

Molybdenum . Mo

Nickel Ni

Niobium Nb

Nitrogen N

Osmium Os

Oxygen O

Palladium.... Pd

Phosphorus- -. P

Platinum Pt

Potassium K

Rhodium Ro

Rubidium Rb

Ruthenium . Ru

Selenium Se

Silicon Si

Silver Ag

Sodium Na

Strontium Sr

Sulphur S

Tantalum i Ta

Tellurium . . . . Te

Thallium Tl

Thorium ! Th

Tin

Titanium . . .
Tungsten . . .
Uranium ...
Vanadium . .

Yttrium

Zinc

Zirconium . .

in
Sn

Eqaiva-
lent.

199.8

99.9

9.5.8

19.16

58.6

29.8

94.

8L88

14.01

4.67

193.

24.125

15.96

7.98

106.2

28.55

80.96

10.82

194.8

48.57^

89.04

104.

26.

85.2

104.4

26.1

78.8

89.4

28.3

107.66

28.

87.8

48.65

81.98

15.99

182.

60.07

125.

62.5

203.64

231.87

57.97

117.8

58.9

48.0

12.

183.6

30.6

240.

60.

51.2

17.07

89.6

29.87

65.2

32.6

90.

; 45.

Note. — The equivalent numbers arc the smallest quantities of the element
that unite with one part of hydrogen, eight parts of oxygen, or thirty-five parts
of chlorine.

289

Digitized by

Google

THE CONVERSION OF GRAMMES (OR CUBIC CENTIMETERS) INTO
OUNCES AND GRAINS, and tiee verm.

CoBTeraloB of Grammes Into Grains.

Grammes.
1 ...

3 -.-
4...
5 ...
6

Grains.

15.43

80.86

46.29

61.73

77.16

92.59

7 108.03

8 128.46

9 138.89

CoBTertioB of Graannes Into Troy Onnees.
Grammes. Troy Onnees.

1 03215

2 06430

8 09G45

4. 12860

5 16075

6 .19290

7 22505

8 25720

9 28985

CoBTorsioB of Grammes Into Arolrdnpols

Ounces.

Grammes. Avoirdnpois Onnees.

1 03527

2 -.- 07054

8 10581

4 14108

5 17085

6 .21162

7 - 24689

8 28216

31743

CoBTerslon of Grains Into Gramines.

Grains. Grammes.

.0ii48
.1296
.1944
.2592
.3240

.4536
.5184

CoBTersloB of Troy Onnees into Grammes.

Troy Onnees. Grammes.

1 31.103

2 02.207

3 98.810

4 124.414

5 155.517

6 180.621

7 217.724

8 248 828

9 279.931

Conversion of Arolrdnpols Onnees into
Grammes.

Avoirdnpois Onnees. Grammee.

1 28.349

2 56.699

8 85.048

4 113.398

5 141.747

6 170.097

7 198.446

8 226.796

9 255.145

The use of tbe tables will be best illustrated by an example. Supposing thai
it is desired to find the equivalent in grains of 324.51 grammes, we proceed by
breaking up this number into the following series of constituent parts, and find*
ing the grain- equivalent of each part from the table.

Portions of original number.

300.

.50

.01

Equivalents in grains.
..4630.
-. 308.6
-. 61.73
. . 7.716
.1524

5008.1984

The required quantity is 5008.2 grains. The numbers taken from the table will,
in most cases, require a change as regards the position of the decimal point; thust,
to find the value of 300 grammes, one refers to the table and finds 46.30 given as
the equivalent, and a mere shifting of the decimal point two places towards the
right multiplies this by 100, or gives the required nuniber. In a similar manner,
by shifting the decimal place of 80.80 one place to the right, we obtain the value
in grains of 20 grammes: while the number 61.73 is taken from the table without
alteration as the equivalent of 4 grammes. For .50 the table number must have
its point shifted to the left, making it 7.716 instead of 77.16; and finally the value
of .01 is obtnined by shifting the point of 15.43 two places to the left.

ago

Digitized by

Google

apTpoi
mnimpvo

•apipoi
mnipofi

•apipoi

•apipoi
mniaotaaiv

•opuomo
mnjpofi

•apuoino
amiaomiDY

'appnojg
oaiz

y-t
CO

I'-

O CQ

r-l _ W

- s

«0 Oi
t- 00

lO s ^

«- « c© ^

«o o t* db

1-i o» ^* e»

8 th

T-i 00

»
©i

y-t

« ^ iO
S S 5

•CpXqav)
apiinojg
mnftapvo

(•[oioo)

OpitQOIfl

mnioipvo

'apjmojg
ranjpos

apTinoje

-apfmojg
mniaomuiY

§ g

-^ n

CO 00

s ^ s

a» 00 o

« tH

S 2

o ta

00 Tt*

"^ « CO ©»

- s s

$ 9

S ? is

a
•a

a
a
<

a
'S

I1|.fs
^^£|^

** tt. SCO a

111 pi

O i; 3 3 fl

„T3 s"^ «2
C = ^ = O Q.

liilll

gsl:-S2

.::; «^ c «-s g
S-c S^ * -

0* «— ■ 1! fc. "^

£^ o c^ *- a

C h,' s % o

SO) * * c • '
^ .£3 « -' j< j2

lU^ .,^ *.s
li^S .Is

a *- 08 C S

^ 9^ pt:

a?i

Digitized by

Google

THE SIMPLIFICATION OF EMULSION CALCULATIONS.

From British Journal qf Photography Almanac.

With a view of simplifying the calculations involved in emulsion making, Mr.
William Ackland has worked out some useful tables, which will enable even
those most ignorant of chemical philosophy to calculate with ease and rapidity
the proper quantities of silver or haloid salts in any formula. Even those who
are able to perform the calculations in the recognized style will find their labors
materially lightened by means of these tables, which should be kept in a conven-
ient place for reference in every laboratory.

No. L

Eqoivalent weights.

III
111

lit

Weight of silver haloid
produced from one
grain AgNO^.

Ammonium bromide

98.

1.784

.576

1.918

.521

■X

Potassium "

119.1

1.427

.700

1.578

.638

Sodium '• ....

108.

1.650

.606

1.825

.548

1.106

Cadmium " com.

172.

.988

1.012

1.098

.W5

anh.

136.

1.25

.800

1.882

.723

Zinc *•

112.1

1.509

.668

1.670

.600

Ammonium chloride

58.5

8.177

.815

2.682

.878 1

.844

Sodium *' ....'

68.5

2.906

.844

2.458

.408 i

Ammonium iodide

145.

1.172

.853

1.620

.617 ,

PotHSsium '•

166.1

1.028

.977

1.415

.707

1.882

Sodium " 1

150.

1.188

.882

1.566

.688

Cadmium " 1

183.

.929

1.076

1.284

.778

The principal bromideu, chlorides and iodides which are likely to be n«ed in emulsions of either
gelatine or collodion have been Included in these tables. Table No. 1 prefcnts to th« reader, with-
out any mystification which may be involved in equivalents, the actual weights of Haloid or «llv«r
as the case may be, required to convert or combine with one grain of the other.

In order to test the utility of this table, let us suppose that it is desired to make (say) ten o^cee
of emulsion by a new formula, which, for the sake of showing the' working of the table, we will
write down as follows:

Bromide of potassium 150 grains. I Chloride of ammonium 10 grains.

Iodide of potassium 10 " | Gelatine 200 **

Now, we want to know how much silver nitrate should be employed in sensitizing this mixture.
For this purpose we use the first column, in which we find against each haloid the exact quantity of
silver nitrate required to fully decompose one grain. Taking, then, the figures we find in column
No. 1 against the three salts in the above formula, and multiplying them by the number of grains of
each used, we have the following sum:

Potassium bromide 150x1.427 = 214. ) Weight

iodide 10X1.023= 10.88 V silver ifltrate

Chloride of ammonium 10 X 8.177 = 81.77 ) . required.

or the total quantity of silver nitrate required for full conver- » g^^ grains.

^92

Digitized by

Google

THERMOMETRIC TABLES.

Showing thb Assimilation of the Thbrmombtbrs in Usb Thbouohoitt

THB World.

Cdaios.

R^anmor.

Fahrenheit.

CelBiot.

R^aamnr.

Fahrenheit.

100

80.0

212.0

89.2

120.2

79.2

210.0

88.4

118.4

78.4

208.4

87.6

116.6

77.6

206.6

86.8

114.8

76.8

204.8

86.0

118.0

76.0

208.0

85.2

111.2

75.2

201.2

84.8

109.4

74.4

199.4

886

107.6

78.6

197.6

82.8

105.8

72.8

105.8

82.0

104.0

72.0

194.0

81.2

102.2

71.2

102.2

80.4

100.4

70.4

1U0.4

29.6

98.6

69.6

188.6

28.8

96.8

68.8

186.8

28.0

95.0

68.0

185.0

27.2

98.2

67.2

188.2

20.4

91.4

66.4

181.4

25.6

89.6

65.6

179.6

24.8

87.8

64.8

177.8

24.0

86.0

64.0

I16.O

28.2

84.2

68.2

174.2

22.4

82.4

62.4

172.4 1

21.6

80.6

61.6

170.6 1

20.8

78.8

60.8

168.8

20.0

77.0

60.0

167.0

19.2

76.2

59.2

165.2

18.4

78.4

584

168.4

17.6

71.6

57.6

161.6

16.8

69.8

56.8

159.8

16.0

68.0

56.0

158.0 j

15.2

66.2

55.2

156.2

14.4

64.4

54.4

154.4 ,

18.6

62.6

58.6

152.6 1

12.8

60.8

52.8

150.8

12.0

59.0

52.0

149.0

11.2

57.2

51.2

147.2^

10.4

55.4

50.4

145.4

9.6

68.6

49.6

148.6

8.8

51.8

48.8

141.8

8.0

50.0

48.0

140.0

7.2

48.2

47.2

188.2

6.4

46.4

40.4

186.4

5.6

44.6

45.6

184.6

4.8

42.8

44.8

182.8

4.0

41.0

44.0

181.0 1

8.2

89.2

48.2

129.2

2.4

87.4

42.4

127.4

1.6

86.5

41.6

125.6

0.8

88.8

40.8

128.8

0.0

82.0

40.0

122.0

ag3

Digitized by

Google

DR. SCOTT'S TABLE OF COMPARATIVE EXPOSURES.

The following table, compiled by Dr. J. A. Scott, shows the comparatiye value
of daylight at different hours of the day and seasons of the year, and is intended
for use in conjunction with^tbat of Mr. W. K. Burton :
Table of Comparative Exposures.

Hour of Day.

▲.M. P.M.

June.

May,
July.

April,
Aug.

Mar.,
Sept.

Feb.,
Oct

Jan.,
Nov.

Dec.

^'4

2>i

lu^

Wa,

•12

*16

♦6

♦5

♦6

♦12

-■

"■

* Tha accuracy of theae flgorea would be affected by a yellow sunset.

MR. BURTON'S TABLE OF COMPARATIVE EXPOSURES
(slightly altered).

Landscape and
BuildingB.

Heavy Foliage.
Foreground.

Portrait out of
Door8.

Portrait in
Studio Light.

c §

S ^

t *

o fl

Under Trees.

FalrlyTighted
Interiors.

Badly Lighted
Interiors.

T»ffsec.

\ sec.

1 sec.

2 sec.

16 sec.

1 min.

2imin.

\ hour.

P
11

Isec.

Usee.

4 sec.

8 sec.

Imin.

4min.

10 min.

2 hours.

Usee.

5 sec.

16 sec.

82 sec.

4inm.

16 min.

40 min,

8 hours.

294

Digitized by

Google

ENLARGEMENTS.
From the British Journal of PTiotography Almanac,

FOCUS OF LENS.

Inches.

TIMES OP ENLARGEMENT AND KKDUCTION.

Inch.

2
Inches.

Inches.

4
Inches.

Inches.

7
Inches.

8
Inches.

4
4

6
8

8
2}

10
^

14
2i

18
2i

• 5
5

15
8

17J
2H

20
2f

22^

6
6

12
4

15
3*

18
3t

21
8i

24
8?

7
7

lOJ
5

14
41

■il

24J
4A

28
4

3U
4l

8
8

12
6

20
5

28
4|

86
4i

18
6

27
5f

81i

40J

10
10

20
6|

80
6

40
5»

45
6|

11
11

27i

6ff

83
6i

88i

491
6ft

12
12

18
9

64
6J

14
14

21
lOi

28
9|

24
12

82
10|

40
10

72
9

18
18

27
18i

86
12

68
lOi

72
lOf

The object of this f able is to enable any manipulator who is aboat to enlaree (or reduce) a copy
any driven number of times, to do so without troublesome calculation. It u assumed that the
hotoi^rapher knows exactly what the focus of his lens ic, and that he is able to measure accurately
from its optical centre. The use of the tab e will be seen from th« following illustration : A pbotoff-
raphe: bas a carte to enlarge to four times its size, nnd the lens he intends employing is one of six
inches equivalent focus. He must therefore, look for 4 on the upper horizontal Ime, and for 6 in
the flr t vertical column, and carry his eye U) %* here these two join, which will be at 80— 7X.
The greater of these is the distance the sensitive plate must be f roni the centre of the lens ; and
the lesser, th« distance of the picture to he copied. To reduce a picture anv given number of times
the same method must be followed, but in this case the greater number will represent the distance
between the lens and the picture to be copied : the latter, that between the lens and the sensitive
plate. This explanation will be sufficient for every case of enlargement or reduction.

If the focus of the lens be twelve inches, as this number is not in the column of focal lengths,
look out for 6 in this column and multiply by 8, and so on with any other nomben.

S95

Digitized by

Google

COMPARATIVE EXPOSURES FOR ENLARGING AND REDUCING.

Compiled by Mr. E. Ferrero, (Camera Club, London),

//16

//18

//20 //22 //24

//20

//28

//32 //36

//40 //44

//48

//52

in. 8.

m. B.

m. 8. 1 ID. B.

m. 8.

m. 8. ' m. 8.

m. 8.

»n. 8.

m. 8.

14| 17

86 45

1 7

1 20

1 84

21 25

54 1 7

1 28

1 41

220

28 82

1 12 1 80

1 61

2 15

2 40

3 7

85' 42

1 8

1 30 1 5>

2 lb

2 48 8 20

854

42' 50

1
1 19

1 I)

1 21

1 48 2 15

2 46

8 22 4

4 40

55' 1 15

1 33

1 48

2 24t 3

8 42

4 29! 5 20

6 15

1 10; 1 24

1 40

1 54

2 15

3 Oi 3 42

4 87

5 36, 6 40

•7 48

1 6

1 23i 1 88

1 59

2 18

2 42

3 36 4 30

5 83

6 44 8

9 21

1 8

1 18

1 37| 1 54

2 19

2 42

8 9

4 12 5 15

6 28

7 52, 9 20

10 55

1 12

1 30

1 50 2 10

2 38

3 7

3 3<5

4 48' 6

7 24

8 58; 10 40

12 80

1 21

1 40

2 5I 2 80

2 59

3 29

4 4

5 24 6 42

8 19

10 5 12

14 8

1 30

1 50

2 20! 2 50

3 20

3 48

4 80

6 01 7 22

9 12

11 12,13 20

16 86

1 48

2 12

2 4<{| 3 16

4 36

5 24

7 12| 8 52

11 5

13 28 16

18 40

2 6

2 So

8 18, 8 48

4 37

5 23

6 18

8 241 10 80

12 56

15 43! 18 40

21 50

2 24

3 40 4 20

5 17

6 14

7 12

9 86112

14 48

17 551 21 20

2 42

3 20

4 10 4 58

5 58

6 58

8 7

10 48| 13 24

16 86

20 lOf 24

28 6

8 40

4 40 5 36

6 40

7 36

12 14 44

18 25

22 24

26 40

31 12

8 22

4 10

5 15 6 18

7 30

8 88

10 10

13 80 10 30

20 48

25 12

ai 10

8 45

4 86

5 50 7

8 19

9 80

11 15

15 18 24

8:^ 20

89 4

4 7

5 5

6 25 7 42

9 9

10 27

12 27

16 30 20 18

25 20

80 48

86 40

42 57

480

6 80

7 8 24

11 24

18 80

18 22 6

27 40

38 86

46 54

COMPARATIVE EXPOSURES FOR ENLARGING AND REDUCING- Owttnuetf.

//56

m. 8.

1 48

2 42

8 87

4 80

5 25

7 12

10 50

12 40

14 24

16 12

21 40

25 20

28 48

82 80

40 48

49 51

//60

//64

//68

//72

2
3

4 10

5 17

6 15
8 20

10 34
12 30
14 34
16 48
18 45
21 8
24 58
29 7
38 171 37
37 301 42
42 171 47
40 50| 53

52 50
58 13
63 26

22I 15

l!l8
42121
22i 24

3|27
44 30

0'86
28142
43i48

5,54
28, 60
20 67
40 74
80 82

//76

0! 20

Oi 23

0, 26

0, 30

0' 46

0' 00

271 75

55 1 83

25i 91

55|100

//80

//84 I //88

m.
8
5

18
22
25
29
33
37
44

45| 51

271 59
Ol 66

471 74
8| 83

301 92
101

10111

12' 65
361 73

0! 81
15| 91
30,101
45,111

0122

9
12
17
21
25
8O;
33 35
38' 40
42' 44
50! 53

7' 71
15' 80
24 89
31 100
38111
45,124

6134

f/92

//96

m. 8.

4 54

5 20

7 21

9 48

10 40

12 17

18 20

14 42

19 86

21 20

24 33

26 40

29 24

84 18

37 20

39 12

42 40

44 10

48 56

53 20

58 48

74 40

106

110

120

122

133

185

146

147

160

//lOO

5 47
8 40
11 83
14 27
17 20
23 7
28 54
84 40
40 27
46 15
52
57 48

81
92
104
116
130
144
159
174

296

Digitized by

Google

DR. WOODMAN'^ TABLE OF VIEW ANGLES.

DIVIDE THU BASE OF THE PLATE BY THE EQUIVALENT VOCUS OF THE LBN8.

If the quotient

The

If the qnotlent
fs

The

If the qnotlent

The

angle is

.282

De^.

.748

Degrees.

1.8

Degp.

.768

1.82

.817

.788

1.86

.835

.808

1.875

.858

.828

1.4

.87

.849

1.427

.880

.87

1.45

.407

.89

1.48

.425

.911

1.5

.448

.983

1.68

.402

.854

1.66

.48

.975

1.59

1.62

.517

1.02

1.649

.586

1.041

1.678

.555

1.068

1.7

.578

1.086

1.789

.592

1.108

1.769

.Oil

1.132

1.8

.681

1.155

1.883

.65

1.178

1.866

.67

1.2

1.898

.689

1.225

1.931

.708

1.25

1.965

.728

1.274

This table has been calculated for the use of those who wish to know the
precise angle of view included by any particular lens on a given size of plate. Its
mode of use will be easily seen by inspection.

SIZES OF DRY PLATES MADE IN FRANCE AND GERMANY.

X 9 c.

xl2 '*

xl5 "

xl8 "

x20 "

x21 "

x22 "

x24 "

9 c. m 2.5 X

... 8.6 X

... 4.7 X

--. 5.1 X

... 4.7 X

... 5.9 X

... 7.2 X

8.6 inches.

4.7

5.9

7.0

7.8

8.2

8.6

9.4

21x29c. m 8.2 X 10.6 inches.

24x80 *' 9.4x11.8

27x83 '' 10.6x12.9 ' '*

27x35 •' 10.6x18.7

80x40 •' 11.8x15.7

40x50 •' 15.7x19.6

50x60 " 19 6x28.6

SIZES OF DRY PLATES MADE IN ITALY.

9
12
12
13

12 c.

18x24

8.6 X

4.7 X
4.7 X
5.1 X
4.7 X
7.0 X

4.9 inches.

6.3

7.2

7.0

7.8

9.4

21 X 29 c. m 8.2 X 10.6 inches.

24x80 " 9.4x11.8

29x38 •• - 10.6x12.0

80x86 •• 11.8x14.1

40x50 •* 15.7x19.6

50x60 " 19.6x28.6

297

Digitized by

Google

EQUATIONS RELATING TO FOCI, Etc.

The following simple optical formulflB and calculations, worked out by Mr. J.
A. C. Branflll, will prove useful in many branches of photography, especially
where several lenses of varying foci are in constant use for a variety of purposes:

Let p = Principal focus.

F = Greater conjugate do.

/ = Lesser do. do.

jD z= F+f = distance of image from object.

r = Ratio of any dimension in original to the same dimension in copy
(in case of reduction), or Hce versa (in case of enlargement).

a = Effective diameter of diaphr 'gm.
U. B. No. — •* Uniform System " No. of do.

X = Comparative exposure required.

Then p = D X ^ = ?^ = -^ '^-L.

(7- 4- 1)» D r + 1 - r + 1

J - V ^+ 1

•^ ^ r -'F-v " r + \ - r

^_F-p^ p _F
P f-P f

U. 8. No. = -2L
16 a«

X =

.n _ jp^ (r + 1)'
10 «• - IQa*^ r«

N. B. — For ordinary landscape work, where r is greater than 20, x may be

taken as —^—~
16 a»

NoTK.— In case the above may not be clear to some photographers, the following rales maj be
better understood :

To find th« principal focu«« of a lens (p), focns a near object in the camera, and measure the
distance lH'twe«*n it and the ground-glass (Z>); next find the proportion which anv dmien^ion in the
object bears to the same dimension on the ground-glis" (r). Thus, if the original dimension be
four times as large as its reproduction, we sav that r equals (=) 4. Multiply D by r, and divide the
product by the square of a number greater by one than r (r 4* t)^- This rule was lately published
by Mr. Debenham.

To find the letfser conjugate focns (./*) (if p and rare known) multiply/) by the sum of r-|- 1 •n*i
divide the product by r. Or divide Z) by r -f 1.

To find the preater conjugate focus {F) multiply » by r + 1. Or multiply/by r.

To find D (toe distance which the ground-glass should be from the object to be copied in order

to get a given value for r) multiply p by the sum of r H \-2.

To find r divide F—p (Ihe difference between /^and p) by p. Or divide p by/ — p. Or divide

find X divide the square of/ by 1« times the square of a (the diameter of aperture to lens).

F'oif.

To find X divide the square of/ by

For example: Focu<« an object whl< h is five inches bigli. so l hai it is one inch high on the ground'

glass: thus we know thatr = 5. Next measure the distance between the object and the ground-
glass (Z>), which is found to he 45 inches.

i8s( Z>), which is found to he 45 inches.
Then /> = 45 X (multiplied by) 5 -+- (divided by) 6 X 6 = 6^ inches.
/ = 5^ X 6 -I- 5 = 7V^ Inches. Or/ = 45 -i- fi = 7H (uthes.
i^ = GW X 6 = 37^ inches. Or F = TV^ X 6 = 87fi^ inches.
2> = 6^ X (5 -f J -f 2) = 6J4 X 7i = 46 i.:ches.
r = (37H-63i)-»-6V4 = 6. Or r = 6J4 -*- (7^ - 6J4) = 5.

ag8

Digitized by VjOOQ IC

a
<

o
<1

o
S

I V

Jill

g S*«

fl S fl i a

ill If

i: t« a >»

P
O

oo * S

tt « » 3

I Si

- JM

* C 5J i ^^
^-* - S.,
- y OJ

«5

•3 "

I
II

c3 "EJ

« w B

I I

111

iJ b

1. iiS ::.

"g §5 21

52 11 S-d

«S la o-a

6o oa o,^

ll y^ti «§

-^.s «S-H^5 sa

»-i ?" CO H

31 5 .
B"5 ? « a

O a8 * - O

2^15 2

■ S

^■^5 = 2 S

N.— X • « ^ jr

a gSggs

O o
M ^

55 55

woo

.•a

III

II
I i
a I

ill

^ si

O. eo

111

a
1-2

il
I-

309

Digitized by

Google

ALCOHOL.

Specific Gravities of Mixtures of Diflferent Proportionfl of Alcohol (s. g.
and Water, by Weight and by Volume, at 14" R. (68.5° F.).— Meissmer.

Specific

Parts of

Gravity of

Parts of

Gravity of

Alcohol.

Water.

Mixture

Mixture by

Alcohol.

Water.

Mixture by

by Weight.

Volume.

Weight

Volume.

100

0.7982

0.9196

0.9824

0.796

0.7969

0.9219

0.9844

0.7988^

0.8006

0.9242

0.9H64

0.8016

0.8042

0.9264

0.9884

0.8045

0.8078

0.928

0.9404

0.8074

0.8114

0.9808

0.9424

0.8104

0.815

0.9829

0.9448

0.8185

0.9350

0.9461

0.8166

0.8219

0.9871

0.9478

0.8190

0.8258

0.9891

0.9495

0.S225

0.8-86

0.9410

9512

0.H252

0.8817

0.9429

9529

0.8279

0.884G

0.9448

0.9547

0.8304

0.8378

0.9467

0.9564

0.8329

0.840

0.9486

0.958

0.8853

0.8427

0.9505

0.9595

0.8876

0.8454

0.9524

0.9609

0.8899

0.8481

0.9548-

0.9621

0.8422

0.8508

0.9561

0.9682

0.8446

0.8584

0.9578

0.9648

0.847

0.8501

0.9594

0.9054

0.8494

0.8596

0.9608

0.9665

0.8519

0.8616

0.9621

0.9676

0.8548

0.8642

0.9684

0.9688

0.8567

0.86H8

0.9647

0.970

0.a59

0.8695

0.966

0.0712

0.8613

0.8723

0.9678

0.9728

0.8685

0.8751

0.9086

0.9784

0.8657

0.8779

0.9699

0.9745

0.868

0.8806

0.9712

0.9756

0.8 ro4

0.8888

0.9725

0.9766

0.8729

0.886

0.9788

0.9775

0.8755

0.8885

0.9751

0.9784

0.8781

0.891

0.9768

0.9798

0.8806

0.8934

85 »

0.9795

0.9808

0.8831

0.8958

0.0786

0.9818

0.8855

0.8982

0.9796

0.9828

0.8879

0.9096

0.9806

0.9884

0.8902

0.9029

0.9817

0.9846

0.8925

0.9052

0.9830

0.9859

8948

0.9075

0.9844

0.9878

0.8971

0.9098

0.9860

0.9888

0.8994

0.9121

0.9878

0.9901

0.9016

0.9145

0.9897

0.9915

0.9038

0.9168

0.9914

0.9929

0.9060

0.9191

0.9981

0.9948

0.9082

0.9124

0.9948

0.9957

0.9104

0.9287

0.9965

0.9971

0.9127

0.9159

0.9982

0.9985

0.915

0.9281

100

1.0000

6178

0.9303

300

Digitized by

Google

SOLUBILITY OP CHLORIDE OF SILVER IN SOLUTIONS OF
VARIOUS SALTS.

{E. Rahn.)

Pa;g

it^t

t .

Isa,

^^1

V >

Tempe
ture

Nombe
Oraroa
Silver
100 c.

Potassium chloride .

24.95

19.6"

0.0776

0.0584

1.1774

19. 0'^

0.0688

Sodium

25.96

*«

0.1058

0.0798

1.2a58

0.0956

Ammonium '*

28.45

24.5^

0.3397

0.2551

1.0885

80.0"

2704

Calcium

41.26

0.5718

4.4800

1.4012

♦♦

0.C288

Ma^esium "
Banum "

86.86

0.5818

0.8999

1.8850

0.5889

27.32

0.0570

0.0429

1.8017

•*

0.0558

Ferrous

80.70

0.1686

0.1269

1.4199

20.0^

0.1802

Ferric

87.48

—

0.0058

0.0044

1.4472

21.4°

0.0064

MaDganous "

48.85

24.5°

0.1996

0.1499

1.4851

80.0*'

0.2226

Zinc

58.84

—

0.0184

0.0101

1.6005

0.0162

Cuprous

44.48

24.5''

0.0582

0.0899

1.5726

0.0627

Lead

0.99

0.0000

1.0094

0.0000

SOLUBILITY OF SILVER CHLORIDE IN SOLUTIONS OF SODIUM
SULPHITE OF VARIOUS DEGREES OF CONCENTRATION.

(W.deW. Abney.)

strength of Sodium Sulphite Solution.

Qrams of Silver Chloride Dis-
solved per 100 c. c.

1.04 grams per 100 c.

c. of water.

0.007

2.08 '*

0.020

4.16 "

0.070

6.24 "

0.110

8.85 '

0.160

16.70 -

0.810

20.88 ••

0.400

SOLUBILITY OF SILVER CHLORIDE IN SOLUTIONS OF SODIUM

THIOSDLPHATE OF VARIOUS DEGREES OF

CONCENTRATION.

(F. de W. Abney.)

Strength of Sodium Thiosulphate Solution.

2.08 grams per 100 c. c. of water.

4.16 ••

6.24

8.85
16.70
20.88

Grams of Silver Chloride Dis
solved per 100 c. c.

0.29
0.64
0.88
1.26
2.54
8.28

301

Digitized by

Google

EQUIVALENT WEIGHTS OF CERTAIN SILVER COMPOUNDS, ETC.

By A. K EUiott, PKD.

One part of silver, or one part of sOver nitrate, is equal to the following parts of

other combinations:

silver Chio- Silver Bro- -,,. _ ,, , Potasstam ; Potase>iuin Bra-

ride, mide. Silver Iodide. chloride. I mlde.

Silver

Silver Nitrate.

.844

1.740
1.106

2.176
1.882

.690
.489

1.102
.701

Silver

Silver Nitrate.

Potassium
Iodide.

Sodium Chlo-
ride.

Sodium Bro-
mide.

Sodium Iodide,

1.538
.971

.541
.344

.953
.606

.882

Ammonium
Chloride.

.495
.815

Ammonium
Bromide.

Ammonium
Iodide.

Cadmium
Chloride.

Cadmium
Bromide.

Cadmium
Iodide.

Silver

bilver Nitrate.

.907
.576

1.342
.653

1.868
.538

1.776
.800

2.211
1.076

EQUIVALENT WEIGHTS OF CERTAIN GOLD COMPOUNDS.

{Eder*s Tear Book of Pliotograpliy.)

•a
1

0.649

0.554

0.465

0.494

0.477

0.874

2^
2-<

1.540

0.849

0.717

0.762

0.785

0.575

2-2
2i

1.814

1.178

0.844

898

0.869

0.679

Double Chlo-
ride of Oold
and Potas-
Bium.

111

Double Chlo-
ride of Gold
and Cal-
cium.

2.148

2.020

2.096

2.670

1.894

1.310

1.360

1.700

1.188

1.113

1.155

1.471

0.941

0.976

1.219

1.062

1.037

1.821

1.024

1.968

1.278

0.804

0.757

0.781

3«

Digitized by

Google

ACETIC ACID.

Quantities of crystallizable acid in mixtures of acetic acid and water of various

densities at 15" C.

il8

^Na

uSo

^is

^ia

o=^

SzZ

o-^

or^

|-^

1=^

|23

100

1.0553 1

1.0746

'■ «,

1.0615

1.0360

1.0580

1.0744

1.0607

1.0337

i.or.04

1.0742 ;

' 48

1.0508

1.0324

1.0025

1.0740

1 47

1.0580

.10311

1.0644

1.0737

1.0580

1.0208

1.0660

1.0733

1.0571

1.0284

1.0674 ,

1.0720

1.0 -)62

1.0270

1.0686 1

1.0725

1.0."»52

1.0250

1.0606

1.0721

l.a'^43

1.0242

i.oro5

1.0717

1.0o3:j

1.0228

1.0713

1.0712

1.0523

1.0214

1.0720 1

1.0707 ,

1.0513

1.0201

1.0726

1.0702

1.0502

1.0185

1.0731 1

1.0607

1.0402

1.0171

1.U736 1

1.0601

i 36

1.04«1

1.0157

1.0780

1.0685

1.0470 1

1.0142

1.0742

1.0070

i 34

1.0450

1.0127

1.0744

1.0673

1.0447

1.0113

1.0746

1.0066

1.0436

1.0008

1.0747

1.0600

1.0424

1.0083

1.0748

1.0653

1.0412

1.0067

1.0748

1.0046

1.0400

1.0052

1.0748

1.0038

1.038H

1.0037

1.0748

1.0631

1.0375

1.0022

1.0747

1.0628

1.0363

1.0007

N. B. — The density of the mixture increases until nearly 25 ^ of water w
present, after which it again decreases. Acetic acid is, therefore, better tested
volumetrically with a standard solution of alkali.

SULPHUROUS ACIJ>.
Quantities of anhydrous sulphurous acid in solutions of different densities.

{F, Authan,)

rous
100.

001
enoj

58
8

-O P

•OP 1

•O P

t-.-

«3

>»

Anh
Acid

■§2

•§2

1.046

0.54

1.027

6.68

1.020

4.77

1.036

8.50

1.023

6.72

1.016

3.82

1.031

7.63

1.018
1.000
1.005

•§2

2.86
1.00
0.05

ac^

Digitized by

Google

DENSITIES OF WATER SOLUTIONS OF ALBUMEN AT 15.5** CELSIU&
{Eder's Tear Book of Photography.)

^ a

•

§1

•B«.

Sp. Gr.

•B^.

Sp. Gr.

•W.

Sp. Gr.

0.37

1.0026

5.82

1.0884

18.78

1.1058

0.77

1.0054

7.06

10515

15.48

1.1204

1.12

1.0078

8.72

1.0644

17.16

1.1852

1.85

1.0130

10.42

1.0780

18.90

1.1511

8.66

1.0261

12.12

1.0919

DENSITIES OF VARIOUS MIXTURES OF ALCOHOL AND ETHER

AT 15'' CELSIUS.

{Eder^s Year Book of Phoiooraphy.)

Per Cent. Alcohol

Sp. Gr.

Per Cent. Alcohol

Sp. Gr.

0J09 8p. Gr.

0.809 Sp. Gr.

0.729

0.779

0.787

0.786

0.747

0.798

0.756

0.801

0.765

100

0.809

0.772

DENSITIES OF WATER SOLUTIONS OF CUPRIC CHLORIDE AT

17.5** CELSIUS.

(F}ram.)

sp. Gr.

Per Cent.
. CuCl,.

sp. Gr.

Per Cent.
CnCl,.

Sp. Gr.

Per. Cent.
Cu CI,.

1.0182

1.1696

1.8618

1.0864

1.1958

1.3950

1.0548

1.2228

1.4287

1.0784

1.2501

1.4615

1.0920

1.2779

1.4949

1.0178

1.8058

1.5284

1.1486

1.8388

304

Digitized by

Google

DENSITIES

OF WATER SOLUTIONS OF FERRIC CHLORIDE AT

17.5" CELSIUS.

{Franz.)

Sp. Gr.

Per C«'nt.
Fe, CU.

\ Sp. Gr.

PtT Cent.
F. , CI..

Sp. Gr.

Per Cent.
Fe, Clg.

1.0146

1 1.1746

1.3870

1.02JI2

1.1950

24 1

1.4118

1.0430

1.2155

; . 1.4367

1.0587

1.2365

1.4617

1.0784

1.25(18

1.4807

1.0894

12778

1.5153

1.10"i4

1.2988

1.5439

1.1215

1.8199

1.5729

1.1378

1.3411

1.6028

1.1542

1.3622

1.6317

DENSITIES OF WATER SOLUTIONS OF SILVER NITRATE AT

16** CELSIUS.

(Dawson.)

•Tw.

"B^.

1
«»Tw.

•'B^.

«»Tw.

"Be.

go*

!r ^

t- tc

!:; M

^< ,

s.<

2.7

1.021

2.08

; 1^

12.4

1.097

10.41

20.9

1.172

18.75

5.4

1.040

4.16

' 23

14.9

l.llO

12.50

28.0

1.191

20.88

8.0

1.059

6.24

17.1

l.lc5 14.58

25.0

1.209

22.91

10.6

1.078

8.35

18.8

1.152 1 16.66

26.4

1.227

25.00

DENSITIES OF WATER SOLUTIONS OF CHROME ALUM.

(Frayiz.)

Sp. Gr.

1.0174
1.0342
1.0746
1.1274

Per Cent.

5
10
20
80

Sp. Gr.

Per Cent.

1.1896
1.2894
1.4506
1.6362

40
50
60
70

305

Digitized by

Google

DENSITIES OF WATER SOLUTIONS OP CERTAIN ALKALINE
IODIDES AT 20*' CELSIUS.

{Oerlach.)

DENSITIES OF WATER SOLUTIONS OF SODIUM CHLORIDE AT 20'

CELSIUS.

(Schiff.)

*i 1

1 .

»;

N b 1

h «

-1

10.7

1.0066

! II

6.71.04a3|18

12.4

1.0984

17.7

1.1408

:)8

23.0

1.1906

8 2.1

1.0188

7.4 1.0556: |14

1.1012

18.8

1.1490

40 24.0

1.1990

42.7

1.0201

8.71.0«80I15

14.2

1.1090

19.8

1.1572

4l,*^4.5

1.2075

5 8.4

1.0270

9.41.07051110

.j:{

14.9

1.1 16S

8»S

20.8

1.1655

7,4.7

1.0340

10.6 1.0781 '|17

16.0

1.1247

21.4

1.1788

8 5.4

1.0411

11.2 1.0857 118

1 1

17.1

1.1327

22.0

1.1822

306

Digitized by

Google

DENSITIES OF WATER SOLUTIONS OP AMMONIA AT 14* CELSIUS.

{OariuM.)

Specific Gravity.

Percentage of Animonia.

Specific Gravity.

Peroentafle of
Ammonia.

0.8844

86.0

0.9814

18.0

0.8804

85.0

0.9847

17.0

0.8885

34,0

0.9880

16.0

0.8907

88.0

0.9414

15.0

0.8929

82.0

0.9449

14.0

0.8958

81.0

0.9484 •

13.0

0.8976

80.0

0.9520

12.0

0.9001

29.0

0.9556

11.0

0.9026

28.0

0.9598

10.0

0.9052

27.0

0.9681

9.0

0.9078

26.0

0.9670

8.0

0.9106

25.0

0.9709

7.0

0.9188

24.0

0.9749

6.0

0.9162

28.0

0.9790

5.0

0.9191

22.0

0.9881

4.0

0.9221

21.0

0.9878

8.0

0.9251

20.0

0.9915

2.0

0.9288

19.0

0.9959

1.0

DENSITIES OP SODIUM CARBONATE SOLUTIONS.

By Arthur H. EUiott, Ph, D.

Based upon the specific gravity table of Schifl la Ohendker Kalender, Tem-
perature 28^ C. (73* P.). The gallon is that of the United SUtes, and contains
183.28 ounces of water. The ounce contains 487.5 grains. The first four col-
umns give percentage by weight and weight In 100 volumes of the crystals (10
molecules water) and dry salt respectively.

3
e

50
45
40

25
20
15
10
5

60.2
53.2
46.5
40.0
38.6
27.5
21.6
15.9
10.4
5.1
2.0

18.53

16.67

14.82

12.97

11.12

9.26

7.4!

5.56

3.70

1.85

.74

22.81

19.75

17.30

14.83

12.82

10.23

8.00

5.88

3.85

1.86

.76

80
71
62
58
45
37
29
21
14
7
8

202.5

232.

208.

174.5

147.

110.
94.5
69.5
45.5
22.3
8.8

1.204
1.183
1.162
1.141
1.120
1.099
1.079
1.059
1.039
1.019
1.008

18
16
13
10.5

5.4

2.7

40
88
32
28
24
20
16
12

1.4

307

Digitized by

Google

DENSITIES OP POTASSIUM CARBONATE SOLUTIONS.

By Arthur K Elliott, Ph, D.

Based upon the specific gravity table of Gerlach in Chemiker KcUender. Tern*
perature 15' 0. (GO** F.). The gallon is that of the United States, and contains
188.23 ounces of water. The ounce contains 487.5 grains. Dry potassium car-
bonate is understood in the figures given, and the first two columns give percent-
ages by weight and weight in 100 volumes.

Grams In
100 grams.

Grams in 100
c. c.

Ounces In
one gallon.

Grains in
one A. oz.

Specific
Gravity.

Degree
Beaame.

TwSd^.

81.6

100.

857

1.570

114

77.2

108.

888

1.544

108

66.6

89.

291

1.480

56.7

76.

248

1.419

47.5

68.

208

1.859

89.0

52.

171

1.801

81.1

41.5

187

1.246

28.8

82.

105

1.198

17.1

28.

1.142

10.9

145

1.098

5.2

1.046

2.0

2.7

1.018

2.5

DENSITIES OP SATURATED SOLUTIONS.

The following solutions are saturated at OO"* F. and the table gives the specific
gravity, degrees Beaume and Twaddell, and the percentage of salt by weighi.

Spedflc
Gravity.

Degree
Beaume.

Twaddell.

Percentage

Bait
by Weight.

Alum (Ammonia) Crystallized

Potassium Carbonate Dry

*' Oxalate

Sodium Carbonate (10 molecules water]
Hyposulphite (5 '*
" Sulphite (7 " " ]

1.048

1.571

1.262

1.199

1.210

1.197

u 1

10
112
52
40
41
40

11
52
25
49
58
85

308

Digitized by

Google

DENSITIES OP SODIUM SULPHITE SOLUTIONS.

By Arthur H, Elliott, Ph. D.

Based upon experiments made specially for the construction of this table, tem-
perature 15° C. (60® P.). The gallon is that of the United States, and contains
138.28 ounces of water; the ounce contains 487.5 grains of water. Crystallized
sodium sulphite with seven molecules of water is understood in the figures given,
and the first two columns give percentage by weight nnd weight in 100 volumes.

Grams in

Gramqin

Ounces in

Grains in

Specific

Degree

T^aSd^.

100 grams.

100 c. c.

one gallon.

one 11. oz.

Gravity.

Beaome.

85.1

42.0

54.2

184

1.1969

85.0

46.6

153

1.16;5

28.5

88.0

122

1.1881

22.2

29.6

1.1087

16.2

21.6

1.0798

10.5

14.0

1.0^90

7.0

5.1

6.8

22.8

1.0205

3.0

2.0

2.7

8.8

1.0100

2.0

DENSITIES OF HOT SOLUTIONS FOR OBTAINING CRYSTALS OP
THE FOLLOWING SUBSTANCES ON COOLING.

, Sabstance.

•B^.

Sabstance.

•Be.

Acetate of Lead

Chloride of Calcium

** '* Copper

" Sodium

Oxalic Acid

" '* Magnesium

Ammonia Alum

" Potassium

Potash *•

Bichromate of Ammonia

Nitrate of Lead

"Potash

'•Potash

Chromate of Sodium

** •' Soda

Hyposulphite of Sodium

Iodide of Potassium

Barium Hydrate ^.

Borax

Oxalate of **

Bromide of Ammonium

Permanganate of Potassium..

•' '* Cadmium

Phosphate of Soda

Sulphate of Copper

•' Potassium

•• Sodium

' • * ' Iron (Copperas) . .

•* Strontium

** ** Zinc

Carbonate of Sodium

Sulphite of Soda

Chlorate of Potash

Sulphocyanide of Ammonia...

" Sodium

Neutral Tartrate of Potash...

Chloride of Ammonium

Rochelle Salts

** Barium

309

Digitized by

Google

DENSITIES OP WATER SOLUTIONS OP POTASH OR AMMONIA
ALUM AT 17.5^ CELSIUS.

(Eder'i Tsar Book of Photography.)

8p. Gr. of K,Al,(804)4+«4Aq.

Sp. Gr. of (NH4),Al,(804)4-H»Aq.
boIutioQ.

Per Cent.

1.0005
1.0110
1.0166
1.0218
1.0260
1.0820

1.0060
1.0109
1.0156
1.0200
1.0255
1.0805

1
2
8

4
5
6

DENSITIES OP WATER SOLUTIONS OP SULPHUROUS ACID AT

15* CELSIUS.

(Scott.)

Sp. Gr.

Per Cent.
SO,.

' Sp.Gr.

Percent.
SO,.

1.0028

0.5

1 1.0802

5.5

1.0056

1.0

, 1.0828

6.0

1.0065

1.5

1.0858

6.6

1.0118

2.0

1 1.0877

7.0

1.0141

2.5

I 1.0401

7.5

1.0168

8.0

i 1.0426

8.0

1.0194

8.5

1 1.0460

8.5

1.0221

4.0

1.0474

9.0

1.0248

4.5

1 1.0497

9.5

1.0275

5.0

1.0520

. 10.0

DENSITIES OP WATER SOLUTIONS OF SODIUM HYDRATE AT

15*. CELSIUS.

{Bder^s Year Book of Photography.)

•Tw.

•B6.

Sp. Gr.

Per Cent.
NaOH.

•Tw.

• 'B^

Sp. Gr.

Percent.
NaOH.

1.4

1.012

20.9

1.170

8.4

1.028

20.4

1.225

4.7

1.085

81.5

1.279

6.0

1.046

85.8

1.382

8.0

1.059

40.1

1.384

9.4

1.070

43.8

1.437

10.6

1.081

47.4

1.488

11.9

1.092

108

50.6

1.540

18.6

1.108

118

58.6

1.591

14.9

1.115

129

58.6

1.648

310

Digitized by

Google

DENSITIES OF WATER SOLUTIONS OF SODIUM THIOSULPHATE

AT 20** CELSIUS.

(Schiff,)

•Tw.

•B6.

8p. Gr.

•Tw.

0B«.

Sp. Gr.

8.4

1.0264

8.185

20.8

1.1676

19.118

7.4

1.0520

6.871

24.0

1.1986

22.298

10.6

1.0807

9.556

26.9

1.2297

25.484

14.2

1.1087

12.742

29.7

1.2624

28.669

17.7

1.1881

15.927

82.8

1.2954

81.855

DENSITIES OF WATER SOLUTIONS OF CERTAIN ALKALINE BRO-
MIDES AT 20* CELSIUS.

{OerlaeA.)

10
15
20
25
80
85
40
45
50
55

2 S

*c S

«S

*flQ

•s«

^!|

1.037
1.075
1.116
1.159
1.207
1.256
1.809
1.866
1.430

1.035

1.040

1.045

1.044

1.046

1.072

1.080

1.092

1.089

1.094

1.113

1.125

1.144

1.189

1.146

1.156

1.174

1.201

1.194

1.204

1.226

1.262

1.252

1.266

1.254

1.281

1.829

1.315

1.882

1.809

1.844

1.405

1.885

1.410

1.868

1.410

1.485

1.461

1.492

1.432

1.488

1.580

1.549

1.590

1500

1.565

1.685

1.641

1.694

1.580

1.800

s .

O 4)

1.048
1.087
1.137
1.191
1.247
1.810
1.877
1.451
1.585
1.625

311

Digitized by

Google

FREEZING MIXTURES.

Ingredients.

Water _

' Nitrate of ammonia. ._

, Water

Saltpetre

Chloride of ammonium (sal ammoniac)
, Water _

Nitrate of ammonia . .

I Carbonate of soda

I Snow

! Chloride of sodium..

i Snow

' Crystallized chloride of calcium

i Crystallized sulphate of soda

! Hydrochloric acid

16 j

III

§&

§•««

-16'' C.

26° C.

-12''

22^*

—19-

29°

20°

45°

—20°

30°

312

Digitized by

Google

HAVE YOU THBfUrESTiN CAMERAS?

ANTHONY'S 5 X 7 E. R. & C.

THERE is not an Amateur who does not at some time desire to copy a picture, either
reproducing it same size as the orifirinal. Enlarging or Reducing it. For huch, this
Camera is an absolute necessity. How many are there who wish to produce Lantern
Slides from their negatives, but have been unable to do so, for want of a proper
Camera. The difficulty has been overcome.

As will be seen from the illustrations, this article meets every want, besides which it
can be used for photographing with the Telephoto Lenses that are graaually coming into
use, and will soon be in the hands of every one who wishes a complete apparatus.

This Camera has extra long bellows, reversing back with 5x7 holder, centre compart-
ment for holding the Lens (which can also be used on the end of the Camera, where

b holder and ground glass frame,
amera.

extreme amplification is desired), also the back with ^VxAh
with oscillation movement, same as on our Lantern Slide Ca

Price f complete as described,
Extra Holderf either size.

$22.00
i.SO

Anthony's Lantern Slide Camera.

FOR COPYING NEGAT1VES:F0R:USE IN THE LANTERN.:

Is made with special reference to transparency work, and has an oscillating frame carriage
for ground-glas»s and plate holder, to facilitate the adjustment of the picture on the plate.

Price, $12.00

E. & H. T. ANTHONY & CO., New York and Chicago.

Digitized by

Google

Qi'^«v»/\rfti'lr'/\n ^HHac ^® have over 4,000 under electric display in our
47t,dCU|/&.lWUll OllU^o* show room, and are the largrest manufactarers of

slides in the West. We make and color slides to order from photographs, drawings,

engravings, or from your own negatives.

Illiicf t'ci'f aH C#\rm>c We illustrate songs, poems, and recitations to order.

lllUdLraLcU OUIl}^9* send for our special list.

Stereopticons and Supplies. ^? ^AcLVrVI^i^i^Si^'' ""'• ""
Moving Picture Machines. tYe^^^e'Sf SJTnTpfctSl^'TfSJSfne^.

Send for catalogues and prices. *°^ FilmB.

STEREOPTICON & FILM EXCHANGE.

W. B. MOORE. Manager. 104-110 Franklin 5t.. corner of Waahinffton,

CHICAGO.

The .

Farrand
Yignetter.

'»illfliHI!!WliWj!!

Simple of Construction.

Easy of Manipulation.

Every Novement Possible Without Leaving the Baek of Camera.

The Camera rests upon the bed provided for it, which can be placed on
any camera stand, and the vignetter is slotted beneath it, working freely on
its axis, and giving a rotating motion to the toothed card, which may be
slanted at a greater or lesser angle by means of the handle behind the
Camera, or may be raised or lowered by the small rod that runs through its
axis and works upon the chain. Pricei $10.00.

E> & H> L Anthony & Co^ 4s-4r-'49^E.TanK^^^^ cMcago,

R. B. Teachenor TELEPHONE 2793

E. G. Bartberger

Roger Cunningham

Cedcbenor-Bdnberger Engraping Co.

DESIGNERS

^IftOM MA PDotO-Ziac €Kbm Baird Buildintf

Ulooa €agravcrf Kansas city. mo.

Digitized by

Google

^ ^

^
^

fc:

I- « o

(0 ^ ^

0) (u

« z

c
o

!
I

M en

«4

•

Digitized by

Google

ANTHONY'S Patent Lined Screen Holder

CONSTRUCTED ON THB BENSTER PRINCIPLE.

Holds any size of plate or screen, and distance between plate or screen may
be regulated from the outside of the Holder.

pti

RRIC

tTJ

tTJ
P0

ANTHONY'S PATENT LINED SCREEN HOLDER.

Ground Glass Frame only for

and Frame. . Ground Glass.

8 X lo $t8.co $3*oo. ... t ... , $x*50

lo X la 22.50. 3.25 '. ' x.co

n X 14 28.00 3.50 X.88

14 X 17 32.00 4.00 3.35

17 X 20 36.00 '4-50 3.63

18 X 22 40.00 5.50 2.63

20x24 45'Oo 6.50 3.00

O. I. C. COPYINQ CAHERAS

Fitted with Patent Lined Screen Holder.

8 x 10 $4S«oo| 14 X 17 $75-00

lox 12 55.00 17 X 20 f. 85,00

IX X 14 65 00 I 18 X 22 .-. 95'Oo

20 X 24 $I20.00

COPYING, ENLARGING AND REDUCING CAHERAS

Fitted with Patent Lined Screen Holder.

8 X 10 $50.00 I 14 X 17 $90.00

xo X x2 60.00 17 X 20 X05.00

XI X X4 75*00 I 18 X 22 X30.00

20 X 24 $135*00

E. & H. T, Anthony o: Co., 45-47-49 EA5?RMdoiph*sti«e!r. chiaico.

Digitized by

Google

Holed Gposs-Iiine Sefeeos.

FOR HALF-TONE WORK.

Examine tinder microscope and note perfect sharpness of ed^
perfect opacity of lines^ and perfect transparency of spaces*

All sizes and rtilingfs furnished at shortest notice* Write us if
you are in the market for the best ruled screen*

All plates are made square^ unless otherwise ordered*

RRICE-LIST.

Sizes in

Lines per Inch.

Inches

75» 80 OR

100.

no OR

125 OR

140 OR

160 OR

200.

85.

120.

133.

150.

175.

6x8 ....

$15 00

$18 00

$20 00

$22 00

$26 00

$32 00

$40 00

6Jx H ...

18 00

20 00

24 00

28 00

32 00

40 00

50 00

7x9 ....

24 00

25 00

30 00

36 00

42 00

CO 00

65 00

8 X 10

32 00

35 00

42 00

48 00

54 00

68 00

82 00

10 X 12

40 00

52 00

70 00

80 00

95 00

no 00

130 00

II X 14

60 00

80 00

98 00

115 00

135 00

160 00

185 00

12 X 15

75 00

TOO GO

120 00

142 00

170 00

200 00

230 00

13 X 16

95 00

122 00

144 00

172 00

208 00

240 00

280 00

14 X 17 ....

115 00

145 00

I69 00

208 00

252 00

280 00

340 00

16 X 20

166 00

208 00

240 00

305 00

360 00

420 00

500 00

20 X 20

205 00

260 CO

300 00

380 00

450 00

....

—

rF^iA

.L SIZE!

Sizes in
Inches.

Lines per I>

rcH.

75, 80 OR

TOO.

no OR

125 OR

140 OR

160 OR

200.

85.

120.

133.

150.
$3 00

175.

3ix4i ....

$2 00

$5 00

$8 00

4x5 ....

4 00

6 00

8 00

12 00

4ix6i ....

6 00

8 00

10 00

16 00

5 X 7 ....

9 00

10 00

12 00

14 00

16 CO

22 CO

5 X 8 ....

12 00

14 00

16 00

20 00

28 00

For sinsfle-ruled

33j^ per cent*

less*

Special q

uotatioi

IS on lai

rsfer sizes and di

f ferent i

rulings*

E. & H. T. ANTHONY & CO.,

591 Broadway, New York.
46-47-49 £. Randolph St., Chicago.

Digitized by

Google

Professional

The
Qeanest^

Most

Reliablct
and
Economical

paste

PRICES.
I Gallon $i.2o

% Gallon...

I Quart....
i6 Ounces...

8 Ounces...

4 Ounces...

•75
'SO
.40
•25
.15

All Dealers.

_, wARRAirreD

PERFECTLYAOHEStVE;

*flLNOT MOULD OR FEPT*"'

^-'A«cevr.KCOv«»*NN0T."«*

E&H.T.flSTHOHY&CO.,

MANUFACTURERS,

59J Broadway^ New York.
45-47-49 East Randolph St.^ Chicasfo*

Bargain List No. 12

MAILED. JUNE iSth

No. 1 3 wiU be ready about Nov. 1,1899

64Pages—AUBMrgBln8 — 64 Pmgea

LENSES
CAMERAS
BURNISHERS
STANDS
BACKGROUNDS
ETC. ETC.
Sendior oompleU Catalogue of Backgnmad*
DiSTENPBR-Ill DeslgBS-OILENE

WB BUY, SELL AND BXCHANQB

Complete Catalogue on application.

RALPH J. Q0L5EN
PI)0f09r9pMc Suppliei
No. 80 and 82 WABASH AVENUE

CHICAGO

AMATEURS^Send for oar SpecUd Compkie
CjtUlogtte

Commencing with January, 1 900, wo will pab-
llsh a Monthly.

Further particulars later.

KbAyS

Multiplying
Plate Holder.

Holder on Camera with Focuslnff Tube drawn
out ready for exposure.

The only up-to-date and
convenient Holder for
producing Button and
Stamp Photos cheaply and
quickly.

It will fit any 8 x lo portrait cam-
era without alteration, the same as
any common Holder, ^jt can also be
fitted to smaller as well as larger
cameras. It is made to carry either
a 4^^ X 6J^ or 5 X 7 plate, and from 2 to
28 negatives can be made on the one
plate, all alike or all different. Re-
quires no extra lens or stand. It is a
business bringer, and will multiply

your bank account as well as pictures. Ask your dealer for it. If desired, a pamphlet will
be sent on application showing full size cabinet half-tone pictures, giving full particulars
of the Holder. --•--*. •^.. «

PETER DILLER,

Sole owner of Klay's Patent.

BLUFFTON, OHIO, U.S.A.

Digitized by

Google

We build machinerx? for

Photo«Engrav^rs.

Our machines are practical, reliable tools, made
for every-day use. We build a variety of im-
plements, some large and expensive for first-
class establishments ; others, smaller and cheaper,
for those doing business in a small way.
Catalogues for all interested.

John Ro\Jl^ &• Sons,

Paterson, N. J., U.S.A.

QOSTWICK'S

1*HTa. '*'""tni» till t "' .o/aY'^*^

THONY&C0 591B

BACK vouR PLATES

WITH

ANTl.HAbO

And ao Prevent

H A b A T I O N.

Anti-Halo is easily applied, easily re-
moved, and will not scratch off.

Tl? V Aati-Hslo on your
' 1^* Favorite Plate

Size No. i, 60cts. Size No. 2. $1.00

By Mall. lOcts. Extra.

FOR SALE BY ALL DEALERS.

/Vlartin G- Good ^ ^* ?i?c!a?*'^'^^

Photographic Apparatus
^ ^1 ^ and Supplies

We carry all the staple brands of Printlns: Out Papers,

Dry Plates, etc.

^^U orders «t,*t^ ^^.v ^^.v r^«'«.A« ^^««t« ^Prompt shipments

our specialty SEND FOR OUR CATALOGUE ■ assurid.....

Digitized by

Google

If it isn't an Eastman, it isnt a Kodak,

Eastman Products.

Kodaks, Eureka Cameras,

Cartridge Roll Holders,

Tripods,

Transparent Film,

Dry Plates,

Solio Paper,

Dekko Paper.

Eastman's Permanent! Royai, standard, pianno.

Bromide Papers, ( Enameled, Matte Enameled.

EASTMAN KODAK CO.

Rochester, N. Y.

Digitized by

Google

If it isnt an Eastman, it isn't a Kodak,

Solio uniformity and Solio per-
fection are made possible by
the purity of the paper upon
which it is coated. Only the
best imported raw stock is used
in the manufacture of our papers
— stock which is free from every
ingredient that can cause either
immediate or final . injury to the
photographic print — stock such as
only the oldest paper makers are
able to turn out.

Manufacturers of photographic papers who use any but imported basic stoclc (Steinbach
or Rives) do so either to save cost or as a malceshift.

EASTMAN KODAK CO.

Rochester, N. Y.

Digitized by

Google

JVITm^ami iC^botoQtapbers.

Witt find att up-to-date goods in our
stock at right prices — promptness a
feature. ^ Correspondence soticited.

BUTTS & ADAMS

459 Washington Street
BUPPALO, N. Y.

for camera and three holders.

Ascot eycle. No. 1.

For 4 X 5 Plates or Cartridge Films.

This Camera, when folded, occupies the
smallest space of any camera on the market for
a corresponding size of plate, measuring only
6x5xi>^ inches It is made of polished
mahogany, and neatly covered in black leather,
with strap handle. It is fitted with spring-
actuated ground-glass, closed by a hineed panel
in the back, single achromatic lens and shutter
within the front, adjusted to either time or
instantaneous exposures at different speeds.
It is provided also with a brilliant view finder
and pull focus and cloth-covered carryinjp case
. It has also a swivel stop to extension or front
by which portraits, etc , may be made at short range. This device is not found
on any other make of camera. It is without swing, and is provided with two
tripod plates, making possible either upright or horizontal pictures, and is so
arranged that the ground-glass may be removed and a cartridge roll holder
substituted therefor.

Price, including one Double Holder and Cloth-Covered Carry-
ing Case, having capacity for three holders $8 oo

Extra plate holders, each i oo

Cartridge Roll Holder, empty 5 00

E & H. T. flHTHOHY & CO.. Hem York and Chicago.

ENORAVINO
COMPANY

16-18 READEST,
NEW YORK.

Digitized by

Google

rllllililllll Hill Hill I HI Ml II Mil Ml Mil Mil II II I II I HI I III MlMlMHH Ml Mil I Mill HM HIlHIls

Actien - Gesellschaft fur

flnilin-FabPikation

Photographic Department.

NEW!

TRADE MARK.

Agfa

A one solution Intensifier,

Name protected* Patents applied for*

4 oz.

8 oz.

1 6 oz.

$o.6o

i.oo

1.75

THE DEVELOPERS

Eikonogeti:

Working very harmoniously, specially adapted
for portrait and instantaneous pliotosraphy.

1 oz. 4 oz. 8 oz. 16 oz.

$0.87

1.20

8.9.1

Rodinal :

A lilsriily concentrated develop-
inf? solution for all kinds of
photof^rapbic work. Diluted with
^ to 8U times its volume of water
it is ready for use.
8 oz. 8 oz. lA oz.

SO.OO

1.10

2.00

Amidol:

Needing no Alicail. can be well ap-
plied to all kindsof photographic work
1 oz. 4 oz. 8 oz. 16 oz.

$0.75

2.75 5.;i5

10.00

Elastic! Powerful! Handy! Therefore
suited for cashes in which it is doubtful

I If /\in(/\'#^ A whether the plate had been correctly

xpow

1 oz

10.87~

4 oz . 8 07.

~Tao 2.10

16 o z.
8 95

Diphenal:

Concentrated solution, particularly adapted for de-
veloping freely exposed negatives of landscapes.
8 oz. 8 oz. 16 oz.

$0.70 1.30 2.85

EIKONOGEN-Cartridges or glass tubes,^^*^^^^"' w»«
ANIDOL-Cartridges or glass tubes, ml^i^ ten, $i^

Sold by ail Dealers.

Ask your Dealer for Formulae.

^llllllMIMIMllilillHMlMiMlMlMI'i III I HI HI HUM HUM I HI HM HI HI I HI Ml HI IIHI HHHHHHM HHH i

Digitized by

Google

Tnlirlnl '^^^ developer of de-

1 OilUUi* velopers. Stainless on

the plate or fingers. Makes perfect

negatives. Send 25 cents for

sample tube.

^^ric4fr%l ^ one-solution sensi-
OcnSllOl* tizer for prints on linen,
cotton, or woolen cloth, paper,
postal cards, letter heads, wood,
stone, etc. Price, per bottle, Si. 00
(sufficient to cover 3,000 square
inches); $1.15 by mail.

TONFlXDl

Tonplatinol. ^^4^ a ^

gle toner that contains salts of no
metal but platinum. Pure blacks
and whites in a single bath. This
is **The Real Thing." Price 25c.,
50c., and $i.oo.

Tr\*>(4'vr\'t A triumph of modem
1 OnilXOi* chemistry. The first
combined toning and fixing bath.
Guaranteed to produce permanent
prints. Send 25 cents for sample
tube.

HAIiliEt^-KEM^EI? CO.,

CHICAGO:
35-37 Randolph St.

ST* PAUL:
1018 N* Y. Life Bldg.

NEW YORK:
296 Broadway.

J^m-rrk ^^ ^^® °®^ developing paper, giving more latitude in exposing
.^XUAU and developing than any other. Richer blacks. Purer whites.
Printing by the daylight or lamplight. No dark-room is required. A joy to
the amateur. A profit to the professional. Manufactured by the Kilborn
Paper Company exclusively for the Haller-Kemper Co.

Western engraving
Company

214-216 Chestnut Street

St. Loula, Mo.

Desig:ners, Engravers and Printers of Artistic
Announcements, Folders, Q^^kl^ts, €tc.

The Perfection
Trimming Board.

TRIM YOUR
PRINTS

One Glass Pattern suffices
for all sizes. No Measur-
ing or Marking necessary.

PRICES :

Up to 4 X 5 $0. 50

*' 5X 8 80

** 8x 10 100

For Sale by oil Photographic Stock

Dealers. ^

i^-n^r^

The PtRrccTiON Tbimhins Board

^'H;-:^^^f'^'^?i '^L;M^i ^

. -^%<^n

~Sk9 ^fM »xic«rfe Mfrn u«)~

Digitized by

Google

ESTABLISHED I'TSB

RIVES

Papers

PfeAIN For all

5ASIC Photographic

PAPERS Processes

51anchet Freres & Kl^b^^

RIVES-ISERE, FRANCE

621 5ro^dWd5, New yorl<

■13

Digitized by

Google

Celloidinpaper- Gelatinepaper-,and Barium-Paper-coating-machines
for photographic uses, of the latest, best, and most improved con-
struction, furnished by

Ferdinand Flinsch Machinery-Making
and Iron-Founding Company, Ltd*, at
Offenbach-on-Main, Germany

Machinery for making Chromo-Enamel- and Surface-Colored
Papers, Coated Book or Art Papers, Photo-Type Papers, Tracing
and Carbon Papers, etc.

Many Plants delivered to every part of the world*

~M> GILT-EDGE

FERRO-PRUSSIATE

FOR ONK VEAR. t^A t^rilC

Is coated upon stock that is equal to the best
used in the manufacture of Albumen Paper.

It is absolutely Clean and Free from Spots.

And works with great rapidity and brilliancy.

Print in Sunlight and Wash in Water.

No toning or development required.

2% X 2U inches, in light-tight boxes of "i dozen, per box $0.16

8H X 314 " " •' 2 " " 16

3^ X 414 " " * 2 " " 16

4x5" '* " 2 " " 80

^h X 6V1J '• " " 2 " •• 80

6x7" " " 2 »' - 9!>

5x8 ' " " 2 " " 40

O^x 8^ " " " 2 " •♦ 66

8 xlO '' " " 2 " " 68

18 X 24 " per sheet, 18 cents; per dozen 1.50

To save loss, boxes are not broken.

C JR li T nidTlinidV £ r(\ 591 Broadway, New York.

£• tt |1. 1. lUllflUllI Ot bU., 45-47-49 E. Randolph St., Chicago

14*

Digitized by

Google

KING

Belt Background

Patented Oct. 28, 1890. Patent Number d2<)yS^^'

Background painted on Burlap, in dark effects, for Aristo-Platino.
Continuous belt, 5 feet wide, 16 feet long.

Quick Changes,
Endless Variety,
Artistic Effects*

Price, Backgro-jnd and Carrier Connplete, $36.00.

BY ALL DEALERS.

E. & H. T. ANTHONY &, CO..

Trade Agents,
NEW YORK AND CHICAGO.

Digitized by

Google

O^ ctlinHlf^r^^ t^oslng chairs, Studio Pafniture
^'^^*****^*^^ ^ •..and Art Accessory Properties...

Have always suited the most critical of prominent photographers
since photographs were made. Up to the present time l-EADlNG%

since photogi

If interested in any of the articles, photographs of all will be senl,
when parties agree to return them by registered mail the day
following receipt. . »

^iiress... c. A. Schindler, West Hobokcn, N. J.

Located since t860 on the Palisades, in sight of alt the ^ e*w York and
Jets y City [o'jv freight rate shipping points.

Developing Powders

HYDROCHINOIVa

A most convenient form of developer for the tourist or amateur; put
up in boxes containing six powders each. Price, 35 cents.

EIKONOQEN.

A handy form of developer for tourists Six packages in each box.
Each package sufficient for 4 ounces of developer. Price, per box, 35c.

EIKONOQEN AN D HYDRO CHINONE.

Produces beautiful negatives with all the softness of Eikonogen and the
density of Hydrochinone. They are prepared all ready for mixing with
waier, and are most convenient. Price, per box of six powders, 35 cts.

E. & H. T. ANTHONY & CO., new vork and c hicaoo.

Woodard, Clarke 6t Co.

Manufacturers and Jobbers of

Photographic
Supplies ^w

Portland, Oregon

Digitized by

Google

Black or White Porcelain Glass Trays ♦

These trays are strongf and li^fht^
and will be found very convenient*

For 4 X 5 plates - - - $« 35 I i^^r 7 x <) plates - - $0.75
** 5 X 8 •' - - - .45 I " 8 X 10 '* - - .90

6. & H. T. Anthon\J & Co.,

59 1 Broadway, 45-47-49 R Randolph St.,

NEW YORK CHICAGO.

Hrt Engraving Co,,

Line and Half-Thne EngraverSt

146 EsLst Third Street,

St Paul, flDlnm

BOSTWISrS "PEQFECT" FLBSH GflBTRIDIiES.

They Give a Maximum of Light and a Minimum of Smoke — Easily Ignited,
and leave No Burning Box or Other Residue — Put up in Neat Metal Case.
Absolutely Safe. Unequalled for Flashlight Work. ^ JL JL JL JL JL

MADE IN TWO SIZES.
REGULAR, for ordinary home use, small interiors, and every-day portrait work.
PROFESSIONAL FLASH CARTRIDGE, for large interiors, groups, large
heads, and all work where much illumination is desired.
TO USE— Take a cartridge from the box, uiUwist it, and place it on a coal-shovel,
cardboard box, or other similar support, a little above and to one side of the camera.
Ignite the wrapper with a match, uncap the lens, and, after the flash, re-cap the lens.

The Flash is Instantaneous. Adapted Equally for Professional and Amateur.

R R I O K.

No* L Regular size, per box of six 25 cents

No, 2. Professional size, per box of six 40 cents

No* 3. Regular size, per box of twelve 40 cents

No. 4* Professional size, per box of twelve 70 cents

FOR SALE EVERYWHERE. CAN BE SENT HY MAIL.

Digitized by

Google

Pbotograpby

Id. Weekly.

THE

PRACTICAL

PAPER.

Subscription 9& per year*

ILIFFE, SONS & SlURMEY, Ltd.,

3, St. Bride Street, Ludgate Qrcus, London, E.C,

Who make a specialty of Photograpbic Books.

. . . LISTS FREE . . .

Digitized by

Google

The Amateur Pointer.

For Amateur Photographers.

A monthly magazine devoted entirely to the wants of the beginner and amateur
photographer. Is full of such information as every beginner needs* Is plainly
written and understandable by alL The cover contains a new
illustration each naonth* The Amateur Pointer is the
most progressive^ most practical and most valu-
able journal for the amateur and be-
ginner^ published.

SUBSCRIPTION ONLY FIFTY CENTS PER YEAR.

Send for sample copy.

ORDER THROUGH YOUR DEALER.

E. 8l, h. t. ahthonv St CO.,

PublishefS/
591 Btroaduiay, 45-47-49 E. t^andolph St.,

^IEW YOt^K- CHICAGO.

LL WIDE-AWAKE PHOTOG RAPH ERS

SIIOXJLII

USE THE

Photo Autocopxjist

A simple and cheap apparatus for reproducing permanent prints
in any tone. Tbe prints are equal to the best collotype reproductions.
No iplass plates, expensive press, or other elaborate plant required.
Write for price-list and specimens, or call and see the process in
operation.

THE AUTOCOPYIST COMPANY

64 Queen Victoria Street

LONDON

Digitized by

Google

BUCKEYE CAMERAS

For TUB and IHSTAHTANEOUS PHOTOGRAPHY

LOADED IN DAYLIGHT.

3>i X 3>i, for Films only

3j4 X 3>^, for Films only, 1899 model. . . ,
4 X 5, for Films only

3« X 2\4.
BUCKEYE— 1899 MODEL.

SPECIAL
BUCKEYE

For DAY LIGHT FILTl

CARTRIDGES
and GLASS PLATES.

SinPLE AND COMPACT.

r,-:^^^^^^^^^^^- 3>^ X 3>i, with Hold-
er $9.00

Extra Holders i.oo

4x5 SPECIAL BUCKEYE. 4X5, with Holder. . 16.00

T0URI5T BUCKEYE.

THE ne plus ultra
of Film Cameras.
It folds into the small-
est possible compass;
carries films for expos-
ures 3^ X 3^, and for
compactness, fine fin-
ish and practicability
cannot be surpassed.

ADAF>-rE:D TO AIMV F"IL!S/1-

PRICES.

Tourist Buckeye, 3>^ x 3>^ $9.00

Cartridges for same, containing 12 exposures, perforated films 60

Cartridges for same, containing 6 exposures, •* " 30

E. & H. T. ANTHONY & CO., NEW YORK AND CHICAGO.

Digitized by

Google

n I
A

DESIGNERS and

GATCHEL.H'MANNING.

,jU ani^ tleirro Hhotofupe tnqtiHrif

53 SOUTH SIXTH ST.
Philadelphia. Pa.

P
M
O

i"g-^ CEH

o
o

• ENGRAVERS •

Anthonx^'s Squeegee Paste,

for /yiountitig Squeegeed Prints without
destro>;)ing their gloss.

Easily applied and very convenient. Retains all the Gloss of

Original Paint.

E9 U T niiTlJAlJV £. rn 591 Broadway, new YORK.
• & |1. I. Hfll|lU|lI & bU., 45-47-49 E.Randolph St., CHICAGO

flSCOT CYCliE, flo. 5.

For 4x5 plates, or cartridge films. When folded,
it occupies the space of 6 x 5>^ x 2 A in. It is
made of mahogany, neatly covered in black
leather, with strap handle, and is fitted with spring
actuated ground-glass, closed by a hinged panel
in the back, and is adapted to the use of either
films or plates. It is provided with a single achro-
matic lens and Unicum shutter with retarding
device, adjusted to either time or instantaneous
exposures at varying speeds. It is without swing,
has pull focus, i§ fitted with a brilliant view
finder and two tripod plates. The ground-glass may be removed and
cartridge roll holder substituted therefor. This camera is fitted with an
extension bed-plate, and has a locking device that secures the bellows when
extended, and prevents its slipping back after being focused. It is provided with
a clamp to lock the rising and falling front board, and the front board has
a lateral slide motion, that serves the purpose of a rising and falling front
when the camera is in use for vertical pictures.

Price, including one Double Plate Holder, and fine Leather Carrying

Case having capacity for three holders : $1 5 co

Extra Plate Holders, each i 00

Cartridge Roll Holder, empty 5 00

E. & H. tTaNTHONY & CO.,

NEW YOI^K and CHICAGO.

Digitized by

Google

WYNNE'S

Infallible Exposure Meter

• •••

Is the simplest and most compact device
for the correct timing of exposures ever
produced* By its uset the most difficult
subjects^ with the widest possible differ-
ences in lighting, may be perfectly timed*

It is in great demandt and
A GOOD SELLER* ^ ^

PRICE, in Handsome Solid Nicliel Case,

Extra Tins Sensitized Paper, 25 Cents,

Extra Dials and Glasses, SO Cents.

WYNNE'S

Infallible Print ^eter.

\Wi

A perfect means of correctly timing Carbon, Platinotypc, or other
prints^ and for testing the speed of plates and paper*

PRICE, in Handsome Electro Cases, $2.75.

Extra Pacicets of Exposure Strips, 25 Cents.

E. & H. T. ANTHONY & CO.,

80I.K Agents,
45-47-49 E. Randolpli St., Clilcago. 591 Broadway,. New York.

Digitized by

Google

«IT IS THE BEST I HAVE EVER TRIED.''— J. C Whitney.

\^«l» ' EXTRA

'^•'"^^ PESUBLIMED

"SSr pVRO.

^IT IS SUPERIOR TO ANY WE HAVE EVER USED.^

— ;• Will Kclmcn

^I AM NOW USING IT IN THE PLACE OF ANOTHER
BRAND THAT I HAVE USED HERETOFORE-'^

— ^Arthar J. Hargrave«

^IT IS THE BEST GOODS I EVER USED-^-Pcrcy King.
SEND FOR CIRCULAR CONTAINING TESTIMONIALS-

RRICES:

Per ounce can $0-25

Per 4 ounce can 90

Per 8 ounce can 1 . 70

Per pound can 3.25

5 pound can 15. 00

MARCEAU & POWERS write: ''Your EL A* Extra ResuWimed
Pyro is far superior to any we have ever used- We have a
5-pound box more than half gone^ and we are sure our nega-
tives are a better quality than heretofore* It is the PYRO we
want every time*^

E. & H. T. ANTHONY & CO.,

NEW YORK AND CHICAGO.

Digitized by VjOOQ IC

Geo. H. Fuller & Son Co.

103 State Street, Chicago, 111.
Faetory, - - Pawtueket, Rhode island.

Manufacturers of a large line of

In solid gold, solid silver,
rolled gold, electro-plate
and enameled.

Catalogue sent to any
Wholesale Dealer on
application.

PHOTO
FRAMES

A scot Cjcle No. 6.

Its outside

For 5x7 plates or cartridge films,
dimensions are 8yi x 6)i x 2^"^ in.

1 1 is made of mahogany, neatly covered in
black leather, with strap handle, and is fitted
with spring actuated ground glass, closed by a
hinged panel in the back, and is adapted to the
use of either films or plates. It is provided with
a single achromatic lens and Unicum shutter with
retarding device adjusted to either time or in-
stantaneous exposures at varying speeds. It is
without swing, has pull focus, is fitted with a
J brilliant view under and two tripod plates. The
ground-glass may be removed and cartridge roll
holder substituted therefor. This camera is fitted
with an extension bed-plate, and has a locking
device that secures the bellows when extended, and prevents its slipping hack after
being focused, it is provided with a clamp to lock the rising and falling front board,
and the front board has a lateral slide motion, that sei-ves the purpose of a rising and
falling front when the camera is in use for vertical pictures.

Price, including one Double Plate Holder and Carrying Case as above, $30.00

Extia Plate Holders, each 1.35

Cartridge Roll Holder, empty , . . . . 6.50

E. & H. T. ANTHONY & CO.^^SZ,'^,
P. & B. PHOTOGRAPHIC LACQUER

For renovating Trays, Dishes, Tanks, Tubs, etc. Renders them imper-
vious to acids and alkalies, and stops all leaks. No heating required; always
ready for use.

SOLD IN TIN CANS WITH SCREW TOPS.

S-gallon cans, per gallon $1.50 I '/$ -gallon cans, per J^ gallon $0.85

I " " " " I. to I Quart cans, per Quart 45

Pint cans, per pint I0.25

USEFUL ALIKE TO PHOTOGRAPHERS AND PHOTO ENGRAVERS.

R & R T^ ANTHONY & CO.,

591 Broadway, New York^ 45-47-49 EL Randolph S^ Chicago*

Digitized by

Google

STEINBACH STEINBACH

PAPERS PAPERS

Steinbach 6 Co.

MALMEDY, GERMANY
Maaufacturers of

Raw Papers for all ....
Photographic Purposes

BARYTA COATED ( ■''^'' ^^'^^^"^' Collodion, and

< Bromide Processes, « « • •
PAPERS [ Olossy and Matt Surfaces, «

ALBUMEN PAPER

Double and Single

NEW ENAMEL ALBUMEN PAPER

The Finest ever Manufactured

NEW V«,RK OFFICK p^^/^ PUTMANN

621 BROAD WA Y Ambbican Rbpbbsbntativb

Digitized by

Google

ANTHONY'S.

Photographic Developers
...and Toning Solutions;

MIXED READY FOR USE.

PURE CHEMICALS. FULL MEASURE. BEST VALUE.

none: genuine: wixhout

MARK.

ANTHONY^S MIXED DEVELOPERS.

Metacarbol,

Improved Concentrated

Ferrous Oxalate,

Hydrochlnone

New Economical,

Climax,

Cooper's Concentrated,

New Climax,

Stanley's Concentrated,

Elkonofiren,

Hydrochlnone,

Hyko,

Cramer'

s Metol.

ANTHONY'S DEVELOPING POWDERS.

Ready for use as soon as dissolved in water.
Elkonoiiren. Pyro,

Hydrochlnone, Metol,

Elkonoiiren and Hydrochlnone, MetoUHydro,

Anthony's, Amidol.

TONING AND FDONG SOLUTIONS.

Anthony's Arlstotype Tonlnsr Tonlflxer Patrone,

and Flxlnff Solution, Compound Toning Tablets.
Arlstotone, Compound Toning Powders.

Do not biry cheap toningf solutions made up with lead^ but ask
for ANTHONYS TONING SOLUTIONS which are made
with GOLD* _^

E. & H. T. ANTHONY & CO.,

591 Broadway, New York. 45-47-49 E. Randolph St, Chicago.

Digitized by

Google

lOOO

Semi-Gentenmal Stands

in lOOO

PHOT OGKflPHiG STU DIOS

lOOO

More still contemplatlns: using the only
time-savins stand ON THE MARKET.

ALL DEALERS SELL THERl

WHOLiHSRLiH DHRIiBf^S Ifl

Professional and Rmateop Photographic Supplies,

MORGAN, ROBEY & CO.,
34 'Bromfietd Street, ^Boston, ^ass.

The BRIGHTON Tripod.

The TRIPLEX JUNIOR
Tripod.

Light,
Strong,
Neat,
Efficient,

and made with

Special

Reference

to use with

HAND

CAMERAS.

Prioe, 91. SO.

F*rioe, 93.00.

E. & H. T. ANTHONY & CO., New York and Chicago.

Digitized by

Google

/Wax bevvj's

Engraved Screens

for the

Hdlf^Tone Process

Remain the Standard of Perfection* The best
work produced in the world is done with the
aid of these screens, and cannot be done
otherwise*

Manufactured by — ■

^AX IsEVy,

1218 Rac^ street,
Philadelphia, Pa., U. S. A.

FOREIGN SELLING AGENTS:
England— Penrose & Co., 8 Upper Baker Street, London.
France — J. Voirin, 15 Rue Mayet, Paris.

Germany and Austrta — F. Hemsath» Roderbergweg 135, Frankfort a'M.
Australia, Sydney, N. S. W. — Harrington & Co.
Japan— R. Konishi, Tokio.

The 6ooke

Process Lens

A perfect anastigmatic lens for Process and general
work, is the best companion to the LEVY SCREEN,
and is sold in America only by

/WAX bEVy,

1213 Race St.. Philadelphia, Pa.. U.S.A.

Digitized by

Google

Carbon Tissue

flade by the Autotype Co.. London, England.

Used in making Carbon Prints, Transparencies, Etc., Giving
Permanent Pictures.

NO.
loo.
103.
104.
105.
ic6.
113.
"5-
X5«-
152.

107.
108.

COLORS.

SIZE OK

BAND.

PRICE PER BAND.

Standard Brown,

2\^X

12 ft.

Warm Black.

-5

Enfi^raving Black,

Sepia,

Red Chalk,

I2.75

Portrait Brown,

'♦

Lambcrtype Purple (for Portraits),

»»

Sea Green^
Dark BlueT

k»

»»

•0

Warm Sepia,
Blue Black,

*»

Platinum Black,

Special Transparency Black,
Single Transfer, Med. Thick,

2 X

12 ft.

3.60

2^/j X

lift.

1.20

Pine, Thin,

1.50

i>OUBLE TRANSFER FINAL SUPPORT.

Medium Thickness. 2% x 12 ft.

86.

87. Fine, Thin for Small Work,
Sawyer's Temporary Support, sheets 18 x 23 in., per sheet,

** *' " " 36 X 48 in., per "

Waxing Comi>ound, per cake,
Johnson's Actinometer with Sensitive Paper,
Sawyer's '* '• '* **

Burton's " " *' "

1.30
1.50

•3!>
3.80
1.30

•25
1. 10

2.20

a-75

THE TEnPORARY SUPPORT upon which are treated pigment prints from ordinary
negatives, permits of the prints being developed upon it with the same ease and
facility as did the Single Transfer, of which this takes the place. This support can
be used an indeAnite number of times, only requiring to be rubbed over with the
Waxing Solution to insure the stripping of the print from its surface.

THE PINAL SUPPORTisaspecial paper coated with a gelatinous emulsion of a perma-
nent white or tinted pigment. It supersedes the old Double Transfer Paper bjr reason
of its greater efficiency and the ease and simplicity of working with it. It will keep

?:ood for an indefinite time, does not require not water, and forms a permanent basis
or the pigment print.
BTCHINO PAPER — Single Trantfer. A rough-surfaced, toned Etching Paper for Single
Transfer, yielding prints with broad artistic effect, and free from the glaze of an
ordinarjj carbon print. By masking the negative, prints may be developed on this
paper with suitable margin, rendering mounting unnecessary.
Band, 2H x 12 feet, - - - 81 (^.

CUT SIZES.

TISSUE.
Sea Qreen, Warm Blacic and Sepia.

Package of One Dozen.

4x5 per pkRe* fo^s

5x8 " .50

6H X 8M1' '* .65

8x10 •* l.CO

TRANSFER PAPER.

No. 86 Dble. Transfer. No. 108 Single Transfer.

$0.15
.as
.35
■45

$0.10
.20
•30
.40

CELLULOID IN SHEETS (White;, for mounting above for transparencies, brooches,

etc., etc., 20 X go inches. 10-1000 in. thick, per sheet $i.»5

CELLULOID IN SHEETS (White) , 20 x 50 inches, 20- 1000 in. thick, per sheet 2.00

Sold only in full sheets.
Complete Instructions for working the Carbon Process will be found in our Publication
No. 33— * 'Carbon Printing for Profestlonals and Amateurs.** Price, 50 cents.

ABC rianual on Carbon Printlnip, by the Autotype Co., last edition, illustrated, hand-
somely bound, $1.00.

E. & H. T. ANTHONY & CO.,

Sole Agents for the U. S.

591 Broadway, New York. 4S, 47, 49 E. Randolph St., Chicago.

Digitized by

Google

CHICAGO
PhotoHpinishing Company,

126 STATE STl^BBT, CHICAGO.

Dealers in Photographic Supplies of every description*

Kodaks and Cameras bought, sold, exchanged, and rented.

Fioishing for tiie amateur photographer
inallitshranches: work high grade and
guaranteed* J^^^^J^J^J^J^

iW~Send for Price List, 64-pjtge cjttalogae
for fkfo^nt stamp, cA DISCOUNT ON
ALL CA99ERAS, ■

-V^'> MEReANTtLE PURPOSES.

.)HQ I'fj n..>lU>RAVtNCb

For ALL Artistic and

eHAS.A.g)RfCK. ;.
BW.WIL&9N.J? -W^

KR?P8ttTffRS

{.'■-

XEW CHAMBERS STS.

ORIGINAL
DESIGNING ft

bPECIAlJIIiS.

Ascot Cycle, No. 10

For 5x7 plates or cartridge films. Its
outside dimensions are 8^ x b^ x 2^
inches.

It is made of mahogany, neatly covered
in black leather, with strap handle, and
is fitted with spring actuated ground
glass, closed by a hinged panel in the
back, and is adapted to the use of either
films or plates. It is provided with a rapid
rectilinear lens and Unicum shutter with
retarding device, adjusted to either time
or instantaneous exposures at varying
speeds. It is without swing, has pull focus, is fitted with a brilliant view
finder and two tripod plates. The ground glass may be removed and cart-
ridge roll holder substituted therefor. This camera is fitted with an extension
bed-plate, and has a locking device that secures tiie bellows when extended,
and prevents its slipping back after being focused. It is provided with a clamp
to lock the rising and falling front board, and the front board has a lateral
slide motion, that serves the purpose of a rising and falling front when the
camera is in use for vertical pictures.

Price, including one Double Plate Holder and Carrying

Case as above $30.00

Extra Plate Holders, each 1.25

Cartridge Roll Holder, empty 6.50

E. & H. T. ANTHONY & CO., New York and Chicago.

Digitized by

Google

Pbologrdiiis of the Vear..«..
in which the best photographic pictures of the world are reproduced and
described, is this year enlarged to double the size of former issues, and will
represent more completely than ever Ihe progress of Photography in a pictorial
direction.

American

Photographic

Pictures

in considerable numbers will be reproduced in

Photograms of the year 1899*

The criticism on the work from the United States is from the pen of Joseph T.
Keiley; while that which deals with the Canadian work will be from a similar
capable source.

The workers whose pictures are reproduced will include: Mrs. Gertrude Kasebier,
Miss Alice Austin, Miss Zaida Ben Yusuf, Miss Rose Clark, Miss Frances B. Johnston,
Miss Eva Lawrence Watson. Messrs. John Beeby, Chas. I. Berg, Wm. E. Carlin,
Louis Casavant, F. Holland Day, Rudolph Eickemeyer, Jr., Hy. Hampshire, S. Hol-
linger, Joseph T. Keiley, W. H. Moss, Alfred Stieglitz, Edmund Stirting and Clarence
H. White.

About two hundred pages, with some one hundred and sixty reproductions.

For the first time in ihe history of photography Ihe whole of
the pictures on tfie u-atls of the two leading ^British
exhibitions (The Royal Thotographic Society and The Salon)
icill be reproduced in miniature, with a key indicating their
numbers.

The price of "Photograms of the Year 1890" will be: — In handsome cloth
library binding, $r.oo; in paper covers, ys cents.

•• Photograms of r895 " " Photograms of 1897 "

' • Photograms of 1 896 " * • Photograms of 1 898 "

are still obtainable; price, in handsome cloth, 75 cents; in paper covers, 50 cents.
The set^is invaluable to all who are interested in the evolution of modern pictorial
photography.

NBW YORK

FREDK. J. HARRISON & CO., 11 Howard Street.

SPON & CHAMBERLAIN, 12 CorUandt Street

TENNANT & WARD, 289 Fourth Avenue.

PHILADBLPHU

W. P. BUCHANAN, 1226 Areh Street.

CHICAQO

F. DUNDAS TODD, Photo Beaeon Publishini Co., Tribune Buildinf.

Digitized by

Google

PATTERSON & SHIMMIN,

Bromide Enlargements, Crayon Portraits,

Pastel, Water Colors, and Portraits in Oil.

Give us a trial by sending a 5^7 Negative
and getting a 16x20 Bronnide Enlargement,
finislied, ready for delivery , for only 85 cts.

585-587 West Madison St., Chicago, III.

I Ise Andresen's p/X/NG SALT.

Better than Hypo Soda^ and no more expensive in the long tun*

It keeps clear and prevents Stains in Negatives* Indispensable
for Lantern Slides*

Half-pound Can makes one-half gallon of Fixing Solution^
price H cents*

Quarter-pound Can makes i quart of Fixing Solution, price
9 cents.

Can be used until completely exhausted*

E. & H. T. ANTHONY & CO., New York and Chicago.

MASEED

DRYiPLATE

V/GHTSe^'**'

^ftovv bbaHO

Seed's Speeialties.

OPAL PLATES.

Equal beautiful carbon effects at Iialf the cost.

G. B. P. It. PLATES.

By changing exposure and developer slightly this plate produces four dif-
ferent colors — olive, brown, purple, and red.

PYROX DEVELOPER.

Photographers say this is the best developer they have ever used. It is
ready with the addition of water.

Send for our latest Manual, which describes all our jjoodsand g:ives useful information
rcKardinR the handling: of dry plates. •

MB' CCCfl t\t^^t tlLIITi: rn S^- Louis. Mo., 2005 Lueas Place.
. H. DttU \j\\l rllHlE l»U., New York, N. Y., 57 East 9th Street,

Digitized by

Google

ANDERSON'S-

Photo -Mechanical Processes

and .

Guide to Color Work.

COPIOUSLY ILLUSTRATED. A PRACTICAL HANDBOOK.

Gives working details for Zinc Etching, Half Tone, and all the
Photo- Reproduction Processes. :: :: ::

" Has a wide scope, and terse, practical description has enabled it to be a
perfect mult urn in parvo." — The British Printer,

** An inexhaustible mine of information, the greater part of which is not
to be found elsewhere." — E. Deville.

** By a writer of experience and ability. Will be appreciated by all pro-
cess workers." — Scientific American.

SUPERBLY PRINTED, FLEXIBLE
LEATHER COVER, PRICE, . .

E. & H. T. ANTHONY & CO., New York and Chicago.

cHgRX) Pointers for cAmatears

(15 cts.)
7etls

How to buy a new Camera.

How to make money out of picture-mak-
ing fun.

How to save money on supplies.

How to avoid mistakes on exposures.

Where to find good subjects.

How to catch moving figures with any
kodak.

What "Stops" to use on different subject^.

Panoramic Pictures with any camera.

Flash Light exposures in day-time.

How to know when to stop developing.

How to dry negatives in five minutes
without alcohol.

Exposure Tables for Still and moving
subjects.

Distance Tables for rapidly moving figures.

Lots of other things, and lots of illustra-

CAUQHT ON THE FLY" AFTER READING tJQns.

*' NEW POINTERS."

SOLD BY ALL LIVE DEALERS

Trade cagents : WESTERN CAMERA MFG. CO.
CHICAGO, ILL.

CEO. E. MELLEN, Publishkr, Timks Buildinq, Chicago

Digitized by

Google

WHAT WE MANUFACTURE

ECLIPSE PLATES

Rapid, for Portraiture and Snap-Shots.

ECLIPSE JR. PLATES

Equally Rapid and sold at popular prices.

ORTHOCHROMATIC PLATES, Sen. 27

Rapid, g^ve true color value in monochrome, and can be used
with or without Color Screen as required.

ORTHOCHROHATIC PLATES, Sen. 23

Medium Rapid, for Landscape. Copying Paintings, Photo-
graphing Flowers, etc.

NON- HALATION PLATES

Double coating without backing and with Orthochromatic quality.

•B'' 16 PLATES

Having a wide latitude of exposure, are ' *The Ideal of the Beginner"

LANTERN PLATES

Unrivaled for making Brilliant and Uniform Slides.

• A " TRANSPARENCY PLATES

On plain glass, for positives, etc

GROUND GLASS TRANSPARENCY PLATES

On fine imported Ground-Glass for Window Transparencies, etc.

HALF-TONE PROCESS PLATES

For Photo- Engravers' Use.

OPAL PLATES

Glossy or Matt Surface for Positives.

STRIPPING PLATES

For Photo-Mechanical Pnnters and Engravers.

CELLULOID FILMS, Plates Without Weight

In cut sizes as substitute for Glass. Absolute immunity from
Breakage. In Ribbon form. Negative and Positive, for Animated
Photography, in lengths up to 400 ft. Roll Films i yi inches to
10 inches in width.

SPECIALTIES

Metol-Hydro Powder, Multum in Parvo Lanterns,

Color Screens, Lantern Slide Mats and Binders, Cover Glass, etc.

Ror 3flile l3y all Dealers. 3eoci for Oirocilars, E-to.

JOHN CARBUTT,

Pioneer American Manufacturer, Gelaiino-Bromide and Orthochromatic

Plates and Films.

geystone Dry PUte and Film Wortt, WajmC JUnCtlOll, Philadelphia.

Digitized by

Google

VIvTVX —

A NEW DEVELOPING PAPER.

VIVAX MATT, GLOSSY, PLAIN, AND ROUGH MATT

And sold at HALF the price of other developing paper. Of firood keeping quality,
yielding tones from Sepia Brown to Platinum or Carbon Black, by simple variation of
exposure and developer. Can be manipulated in any ordinary room by gaslight. The
image does not flash up, but comes out gradually, auowing development to be watched
and arrested at the right moment, by immersing in our Short Stop and Hardener.

PRICE-LIST OF VIVaX PAPERS

Stze Do%. Gross Gross I Size Dot. Gross Gross

;0 85

»2.00

$8.76

.40

2.«ft

480

.45

2.55

4.85

.50

2.85

5.40

.75

4.26

8.10

1.00

5.70

10.80

1.60

0.10

17.«6

2.00

11.40

21.60

J?.70

15.40

29.10

H^x8^ 2doz. $0.20 $1.00

mx^i 2dox. .20 1.00 OV^x t^

2^ X 8^ C. DeV. 2 doz. .20 1.00 7 x«

8 x4 ManicUo2doz. .20 1.00 1 8 x 10

4 x5 2doz. .26 .70 1.85 I 10 x 12

8^ x5H Cabinet 2 doz. .80 .85 1.85 11 x 14 ^ doz. $0.60

4 x6 20 1.16 2.15 14 x 17 '* 90

5 x7 25 1.40 2.7o 1« x 20 *• 1 10

5 x8 26 140 2.70 18 x 22 " 146

5^x794 80 1.70 8.25 20 X 24 " 1.60 8.00 17. lO 82.40

10-yard roll, 26 in. wide. $8.60; S-yard do. $2.00; 10- foot roll, $1.60.

Prepaid Ezpfcss Rates on all Photographic Papers*

By arrangement with the Express Companies and by prepaying the express, it is cheaper than
if paid on receipt of the goods, in ordering add sufficient to prepay express, at follov^ ing rates:
On. Add On Add

1 gross Cabinets or under $0.10 1 gross 8 x 10 $0,80

2 gross Cabinets '* " 15 1 dozen 20x24 26

8 gross Cabinets " " 22 1 10 foot roll 15

1 gross 5x7 15 1 10-yard roll 80

1 gross5x8. 15

d^^One Dozen pieces, 4 x 5, or cabinet size, or half-dozen 5x7, with paclcage
of N. H. Powder, sufficient to malce twelve ounces of developer, ^f Pf o
includin^s a print on VIVAX, mailed to any address on receipt of ^^ vi^»

If your dealer cannot supply you, order direct from the Factory.

METOL=HYDRO POWDER ••• jEmom*'

Especially intended for Snap-Shot Exposures. Equally good for Time Exposures on
Plates or Films, Transparencies and our vivax Contact Paper. Put up in two sizes— small
size 2 5 Cents, enough to develop 4 to 6 dozen 4x5 plates; large size, containing double
quantity, in glass tubes, 50 Cents.

Equally Good for TINE EXPOSURES and LANTERN SLIDES.

JOHN CARBUTT, Manufacturer,
KEYSTONE DRY PLATE WORKS, Wayne Junetion, Philadelphia.

Digitized by

Google

The Kaltiinore....

Designers ««<>
Illustrators...

6ngrdving
CompanvJ

5AbTI/ViORE, /ViO.

Anthony's improved Printing Frames.

Provided with SPRING TALLY and CELLULOID TABLET for recording exposures.
These frames are strong and durable, but light.

Size. PRICES. Flat.

3Xx4X ..$0.36

4 X5 38

4Xx SK 40

4Xx6>4 42

5 X 7 50

5 x8 52

b>^x8>i 60

8 X 10 75

^_^rfjy.istfi*

ANTHONT'S AMATEUR
PRMTIMG FRAIES....

Are made on the same general
principle as the Patent Improved
Printing Frames, but are 01 light-
er construction, and are manu-
factured in the smaller sizes only
as follows. They are without
the printing tally or registering
device.

Sizes. Price. I Sizes. Price. I Sizes. Price. I Sizes. Price. | Sizes. Price.

, X2 $0.25] 3X3K $o-»5|3Kx3K $0.25 I 3% X45^ $0.25 45i ^4^4 fo-a.S

.25 I 4

a^X2>'2..

.2513x3^ 25:3^x4 asls'^xs'-^.

E. & H. T. Anthony & Co., new york and Chicago.

SEND/or SAMPI^ES

AND PPICES OP THE FINE WORK DONE BYTHE

ILUNOIS ENGRAVING CO«

DESIGNEPS 4 riAKERd OF PRINTINQ PLATES
346-356 DEARBORN STREET • • • • CHICAGO.

Digitized by

Google

DO YOU SUBSCRIBE TO
••TAe LEADINQ PHOTOQRAPHIC JOURNAL of America?'*

If not, why not send y6tsr sobKription at once to

Anthonys
Photographic
Bulletin ^

Edited by CHAS. P. CHANDLER, Ph.D., LL.D.
W. I. SCANDLIN.

Devoted to Photography and Process Work.

h up-to-date—Treats of Hve issues— Contains translations of best matter
puUished in foteiga journals— Original matter by leading authorities, and a fund of
general information and value to all interested in photography*

Printed on Fine Coated Paper» illustrated.

ISSUED MONTHLY.

Subscription $2.00 per year* $1.00 for six months*

Single copy, 25 cents*

A Few Press Opinions,

" Its illustrations are superior, and its articles are of a character that every one will
find of interest. The * Bulletin ' appeals strongly to all lovers of photography/*— /?(7j/<?«
Times.

" Please continue my subscription right along. I cannot get along without the • Bulle-
tin.' ''—Professor/. N. Bradford.

"The • Bulletin ' does not soar over the head of the photographer, does not hide knowl-
edge in formulas and figures, does not illustrate with borrowed cuts, and does not fill its
reading pages with advertisements. It does interest the photographer, because it is filled
with useful^ practical, topical matter."— /(t^Aw C. Heldmann.

'* Filled from cover to cover with articles of more than passing interest, and replete
with helpful hints for prosessional and amateur photographers. The illustrations are
beautiful. The * Bulletin ' is an ever welcome visitor."— 7>4^ Waterville Sentinel.

**ln all America no other photographic publication has credit for so large a circulation
as is accorded to * Anthony's Photographic Bulletin," published at New York, and the
American Newspaper Directory will guarantee the accuracy of the circulation rating
accorded to this paper by a reward of fioo payable to the first person who successfully
assails M.""^— Printer's Ink.

Subscriptions -will be received by all dealers in any part of the world, by the
American News Co. , or by

E. & H. T. ANTHONY & CO., the Publishers.

Digitized by

Google

ASCOT FOLDING, No. 30.

For 5x7 plates or cartridge roll
films. Is handsomely finisned in
mahoganv. neatly covered with black
grained leather with strap handle.
It is provided with spring-actuated
ground glass, closed by a hinged
panel in the back« and is adapted to
either the use of cartridge roll films
or plates. It is fitted with a single
lens and Unicum shutter, having
retarding device, adjusted to either
time or instantaneous exposures at
varying speeds It is provided with
a smgle swing and pull focus with
locking attachment, and is fitted with
a brilliant view finder and two tripod
plates, for either vertical or horizonal pictures It has a sliding and rising
front and a space for two extra holders behind the ground-glass. Its outside
dimensions are 8>i x 6^ x 4)^ in.

" Price, including one double Plate Holder $22.00

Extra Plate Holders, each 1.25

Cartridge Roll Holder, empty 6. 50

E. & H. T. ANTHONY & CO., New York and CWcaro.

i; Higgins* 1

Photo (- ^uPAste.

Mounter

3 og. /dr, prepMd
by nuiil, 30 cents*

All

Dealers.

CHAS. M. HIGGINS & CO., Mfrs.
New York {Brooklyn Borough), and London

%> €€€€€€€€€€€€€<€€€€€€ €€i€^

i >

i ^
{ )

Digitized by

Google

A SPLENDID LIGHT-GATHERER

A symmetrical anastigmat, with beautiful sharpness
and brilliant illumination, carefully corrected— jieauti-
fully finished. Its speed is twice that of the ordinary
anastigmat.

For the Studio— For High-Speed Work.

A HANDSOME DEFINER

QObblNEARJIL, P 7. 7

Also symmetrical and anastigmatic, with excellent
covering power, extensive angle, and sharp, crisp
definition.

For Snapshot Cameras— Views— Interiors.

Catalogue and Collinear pamphlet free.

tht Uoigtlanaer ^ Son Opt Co.

456 W. 14th STREET,
New York.

NOTE.

CoWaemr

aiMMMM do aoi

Mutfer

mtmoMpberic

deUHorm"

tha.

Digitized by

Google

REQUIRES j> ^

PLATINOTYPE paper

AND

REMBRANDT ^OHSIS' <p»'«>««<«-)

Sample Vrint on Rembrandt by matt, 15 Cents*

Sample package of Paper and De'beloper by mail, 25 Cents*

' Addvess all Qommunieations fco

wmiiis & ciiE]V[eHts,

1624 Chestnat Street, PHILADELPHIA.

STEREOS. - - STEREOS.

The New Film Preserver

IS A BOON TO PROFESSIONAL AND AMATEUR
PHOTOGRAPHERS.

STEREOS,— Prevents dry plates and films from frilling.

STEREOS,— Keeps printing papers from sticking to the film.

ST5IJ50S.— Negatives can be dried by heat without running or blistering.

Srfil?EOS.— Negatives take the lead nicely in retouching.

STEREOS,— The New Film Preserver is indispensable in any developing
room; no matter how warm the water is, STEREOS obviates all diffi
culties and makes the film tough, smooth, prevents fnlling, and produces
crispy, beautiful effects.

Printing papers will NOT STICK to the film if you use STEREOS.

STEREOS negatives dry in less than half the usual time. Films can be dried
by heat immediately after washing without injury. Not necessary to use
ice when you have STEREOS,

STEREOS is put up in three different size boxes, 30c., 50C. and $1.00.

E. & H. T. ANTHONY & CO., Trade Agents,

S9I Broadway, NEW YORK. - - For Sale by all Dealers.

Digitized by

Google

■^1^, » * " ^ . » ^ t» . ■

^ss

Medals and Highest Awards at all Great Exhibitions.

AN ABSOLUTELY UNRIVALLED

SELECTION OF HIGH-CLASS

ROSS-ZEISS and
ROSSGOERZ

PhotoflrapMc CeH$e$.

EXTRA RAPID, RAPID, MEDIUM, and
VIDE-ANGLE

TO SUIT EVERY POSSIBLE REQUIREMENT OF

Professional and Amateur Photographers
and Process Workers,

Also for Taking and Projecting

Cinematograph Pictures.

PRICE LIST5 AND ESTIMATES FREE.

R0$$, Dd*, manufacturing Opticians,

III, NEW BOND street, LONDON, W., and
31. COCKSPUR STREET, CHARING CROSS, S.V.
Works I CUplum Common, S.W.

%S, 1^*^ A A.

Digitized by

Google

ROSS, Ltd.,

Offef to Professional and Amateur PdotogfrapiierB

A UNIQUE SELECTION OT
FIELD, STUDIO, and HAND

CAMERAS

FOR EVERY DEPARTMENT OF

|)igl)-cla$$ Pbotograpby.

Send for our New

ILLUSTRATED CATALOGUE

which contains full particulars and prices of

ROSS, ROSS-ZEISS, and ROSS-GOERZ LENSES,
CAMERAS, LANTERNS, and
PHOTOGRAPHIC APPARATUS
of every description.

ROSS

I id MANUFACTURING
9 iilU«9 OPTICIANS,

111, NEW BOND STREET. LONDON, W^ and
31, COCKSPUR STREET, CHARING CROSS, S.W.
Works t Clapham Common, S.W.

Digitized by Google^

Ilii^^' NEV SERIES of
M\\jkjkj HIGH-CLASS

Optical Lanterns

For Collies, Schools, Technical Institutes,
and every dq»ftment of Lantern ^ork*

These New Instruments are beHeved to be
superior to all others in their • •

THOROUGH EPFICICNCV,
COONOMICAL WORKING, and
BEAUTY of DE6IQN & WORKMANSHIP.

The PRICES are MOST MODERATE.

NEW PATENT ARC LAMPS

For LANTERN and aNEUATOGRAPH
PROJECTION and ENLARGING, &c«

New Patent Lime Light Jets,

Quite unrivaUed for Brilliancy with small
Consumption of Gas.

R0$$» D(L,

MANUFACTURING

OPTICIANS,

111, New Bond Street, LONDON, W., and
31, Coekspur Street, CHARING CROSS, S.W.

Digitized by

Google

Complete New Catalc^ue « .

now ready. Will be sent to any part of the world
on application. Post free, One Shilling.

SECTION I.

Contains full Particulars and Prices of

Ross' Photographic Lenses and Shutters.

Ross' Field, Studio, and Process Cameras,

Ross' New Hand Cameras.

Ross' Photographic Apparatus of every Idnd

Ross' Science, Projection, and Enlarging
Lanterns.

SECTION 11.

Contains full Particulars and Prices of

Ross' Microscopes and Objectives.
Ross' Sporting and Navai Telescopes.
Ross' Field, Marine, and Opera Glasses.
Ross' Barometers, Thermometers, etc.
Ross' Spectacles and Eyeglasses, etc., etc.

ROSS, Ltd., Opticians,

111. NEW BOND STREET, LONDON, W.. and
31. COCKSPUR STREET, CHARING CROSS* S.W.
Manufactory 1 Clapham Common.

Established 1830.

Digitized by

Google

NONA/ READY-

Aristo
Self
Toning
Pdper.

For Professional and Amateur.

PUREby
CObbOOION.

IVIanipula-tion Simple.
Results Oertain.

Fall directions with each package. For sale by all dealers.

Manufactured only by

American Aristotype Go.,

Jamestown, N. Y.

Digitized by

Google

Digitized by

Google

e
8 >.

" t

€0>

loper

> spec!

Devel

« 1

» t

1 purchasii
ease be pa

•**
3
0.

>• ^

ID Cd

S OQ

•- OS
III IC

f r

(0 >"

Digitized by

Google

Photographic Bacls^ouncb-

Painted in 01eQm»

On Burlap or Muslin.

JustOutI

Our 1900

Illustrated Catalogue
Send for*ft.

Ofdcf uifougn
your dealer.

Digitized by

Google

Q END TO US FOR

CATALOGUE

SUPPLIES

FOR

Photo-Engraving,

PHOTO-MECHANICAL
PROCESSES.

E. & H. T. ANTHONY & CO.,

59 1 Broadway. N. Y.

4.5.47.49 East Randolph Street,
Chicago.

ILLUSTRATING
DESIGNING
PHOTO-EN-
GRAVING
ELECTRO
TYPING

SUFFOLK EN
GRAVING CO.
234CongressSt.
BOSTON, MASS.

;J§ECK ENORAVJNOXiflMMNYj;;:^

WE BUY NEGATIVES OF EXCEPTIONAL
QUALITY AND ARTISTIC HERIT.

Send us a proof of any pbotograph you have, which you think would be a salable
subject, and, if it n: eets with our requirements, will make you an offer,
Large size negatives ot' Genre studies and the following

Portraits of Well-known People.
Portraits and Groups of Pretty Children.
Portraits of American Indians.
Animal Photos (Meads and Groups).
Photographs of Flowers.

are particularly desired:
Artistic Landscapes (over 12 inches in size).
Country Scenes.
Photos of Historic Places.
Moonlight and Cloud Effects.
Marine Views.

nark name and addreu plainly on package, and enclose return postage If you wish
picture returned.

E. B. WALKER ft CO., Art Pablisbers, 274 E. 63(1 St., CUcago.

Digitized by

Google

Art
Half Tones

Half (one from pencil sketch made by as for the
Chicago Timee-Herald.

{^ALF TONE making has
been regarded, except by
the enlightened few, as a purely
mechanical process.

We do it differently.

Our employes in this de-
partment are artists, and our
productions artistic.

We preserve the full art
values of the subject and, where
possible, enhance and improve.

And our plates are perfed
for printing.

Write us and we will be
glad to tell you more about it.

Barnes-Crosby Co..

Artists and
Photo-Engravers,

Chicago and St. Louis,
U.S. A.

Digitized by

Google

'^ Clifton Camera

UGHT, STRONG, DURABLE.

This is an entirely new departure in vievyr cameras, and em-
bodies every g^ood feature, without detracting in any way from
the three great essentials of a perfect camera — compactness,
ris^idity, and ease of working^. Every movement is provided for,
and held in place by the best device that experience furnishes.
There is no demand to be made upon this camera that It will not
meet. It has front and back focus, the latter making possible
the use of extreme wide-angle lenses; double-swing back, double-
swing front, reversible bacJc, sliding and rising front, spring-
actuated ground glass, and the front board is very large, over-
coming the difficulty so often experienced when it is desired to
attach special lenses. It is handsome in appearance, constructed
of the very best material, and fitted with Zephyr Holder and a
substantial canvas carrying case.

The 6>^ X 8J^ size measures only 8 x iij^ x 5 in., and

weighs only four and one-half pounds. Price $22.00

The 8 X 10 size is only Ii>^xi3^x5in., and weighs five

pounds. Price 24.00 ^

II X 14 48.1-0 '

14x17 75.00

—Manufactured by.*

E & R T. ANTHONY & CO., S'HiSS

Digitized by

Google

H. A. HYATT,

DEALER & JOBBER IN PHOTO-SUPPLIES,
410 & 412 N. B'way, St, Louis, Mo., U. S. A.

HYATT'S KLAY MULTIPLYING
PLATE HOLDER OUTFIT

THIS IS THE " HIT '
OF THE YEAR...

The OuTnx Compkisxs:

8x10 Portrait Box, Bon-
anza Plate Holder, Camera
Stand, Portrait Lens, Shut-
ter and Klay Multiplying
Holder, for producing from

2 to 28 Pictures

on a 4 ji^ X 6^ or 5 X 7 Plate.

Price only

FIFTY-THREE
DOLLARS.

It is a complete
Studio Outfit, fitted
for the Popular Penny
Picture, and a big
money maker.

HYATT'S PENNY PICTURE APPARATUS.

$15, $17, $20, 15 and 35 Dollars.
Make from one to forty pictures on a plate.
Ldgh Combination Photo Printing Frames. I 3 Varieties in Improved Vignettera.
California Automatic Print Washer. | Hyatt's Stamp Portraits and Apparatus.

Peck's Improved Pneumatic Retoucher. Etc., etc.

Complete
Catalogue
No. 15 on
Application

H. A. HYATT,

ST. LOUIS,
Mo., U.S.A.

Send for
Bargain
List.

MENTION THE INTERNATIONAL ANNUAL,
52

DiSitized by Google

>AAI

Buy, Sell and Exchange

all kinds of

Photographic

apparatus at

Honest Prices.

We also carry a complete Line
of Photo

Supplies.

3oncl for Bargain L.ia-t.

John F. Decker & Co.,

169 Wabiiisb Ave.,

Chicago, ni.

20tm century I DBAS.

PHOTO BUTTONS, '^'^/i'^fr

machinery required in manufacturing.

Maters of 3H to 6
inch Med anions.

Cataloprue, yours on

demand.

IRI5 . . .
OIAPHRAQM

VIVES

Both Tourist Daylight Loading and
MECHANICAL R^ATB CHANQINQ,

The Noted Fixed Metal Magazine

VlVES

in either focusing or fixed focus. LEAD EVERYWHERE.

TOURIST VIVES are Daylight LoadinR. for either GLASS PLATES, CUT FILMS,
or CARTRIDGE ROLL FILMS. There are no other such practical mstruments that
cover the several advantages of others in one camera.

MP_CViVES, S?eTiS^°i

The safest^ simplest and most perfect.

VIVE LENSE5

HAVE MADE VIVES NOTED.

TWIN LENS ViVES

are made in both TOURIST and M P C

styles, and are only $15.00 each.
All our Lenses are manufactured in our
own Optical Department, under the careful
supervision of our noted Mr. ERNST
GUNDLACH, formerly of Rochester, N. Y.
ALL CAMERAS FULLY CUARANTBB».
Space will not permit elucidating further,
but before buying a camera, send for our
FREE iSqq Art Catalogue and Vive Bro-
chure. or 5 cents for a finely Embossed
M PC VIVE, Style C, 4 x 5. mounted Sample Photograph.

VIVE CAMERA COMPANY («"a"„'r^h"^trsSi,p^.!eT"-)

HOne OFFICE : N. W. Cor. State and Washington Sti.. CHICAGO. U. 5. A.

New York Office : 307 Cable Building. Boston Office : 168 Tremont Street.

London Office : Regent House, Regent Street, W.

Digitized by

Google

12 PICTURES IN 12 SECONDS.,

MAGAZINE
CAMERAS

We have instituted
a new era in Ama-
teur Photography
by the introduction
of this Camera.
No unreliable films
— N o intricate
mechanism— No
focusing— No fail-
ures.

CYCLONE

AS THEY LCX)K.

INTERIOR VIEW.

OPERATION

You merely load the Camera with 12 glass plates. Press
I bulb to take the picture. Turn a key to change the

plate, which also auto-
matically registers the
number of pictures
made.
You can mal^ twelve
'9B ' ^mHT' l^^^^H pictures in this way

^^ t ^^Jjjj^w^^^fcv before you unload the
^^JK^H||B^^^^^^^v camera, although any
^^ .^^^^^^^^^W^*^ of the expo.'ied plates
can be removed with-
out disturbing those
LOADING. remaining.

Just the Camera for Summer l(ambles.

4 Styles and 2 Sizes.

Magazine Cyclone No. a (without

^ bulb), size sJi x 4?^ $6.00

Magazine Cyclone No. 3 (without

bulb), size 4x5, 8.00

Magazine Cyclone No. 4 (with bulb

and aluminum plate holders),

size 2H ^ 4}i S'Oo

Magazine Cyclone No. 5 (with bulb

and aluminum plate holders),

size 4x5 ....10.00

Send for Catalogue. Buy from your
dealer.

WESTERN CAMERA MF=G. CO..

131-137 WalMSh Avenue,
CHICAQO.

POR SALE BY...

E. & H. T.
Anthony
& G)mpany,

691 B

PLATE.

CHANQINQ PLATE.

UNLOADING.

ROAD\A/AY,

NEW YORK aTY.

Digitized by

Google

PROCESS PRINTING FRAMES.

Properly Constructed
Thoroaghly Pnurtlcal
Absolutely Reliable

The strongest frame on
the market.

Bolts pass clear through
the sides, preventing
breakage, even under
greatest pressure.

Iron Screws, giving max-
imum pressure and no
chance o"f breaking.

8 X lo, 3 Bars, 6 Screws

lOX 12, 3

6 *

" 3C 14, 3

6 "

14x17,4

12 ••

17x20, 5

20 **

18 X 22, 5

20 *'

20 X 24, 6

24 •*

E. & H. T. ANTHONY & CO., NEW YORK AND CHICAGO.

ESTIMATES PROMPTLY FURNISHED ON ALL SUPPLIES.

Acme Transparent Water Colors.

For coloring photographs on all
kinds of paper, for coloring
transparencies, lantern

-^^- - ^^^^^l slides, etc. For the latter

purpose
Acme Lantern Slide Colors
are conceded by the best col-
orists to be the best colors

for the purpose on the mar-

^J^^^^M^ ket. With them you can pro-

•^"^^^=^ cure all gradations of tints

from the deepest to the most

'*''^*<^ delicate shades with an assur-

^^C 3\l ^^^® ^^ absolute transparency

and permanency, which is

very essential for good work

on slides.

. . . RRIOE: UI3T. . .

Large Set, Palette and Instructions. $2 50

Amateur Set and Instructions, i 00

Lantern Slide Set and Instructions, i 50

Separate Colors, in Pans Each, 25

8BND FOR COnPLBTB CATALOaUB.

AOME WATER COLOR OO.,

84 WABASH AVK., CHICAGO, ILL.
55

Digitized by

Google

Ti£"New American" RoUable Film

This film is manufactured by an improved patented process of which we
are the sole owners for the United States. The factory has been erected especi-
ally for the purj>ose. and is located under exceptionally favorable conditions;
it is eauipped with the latest and most perfectly made machinery. No ex-
pense nas been spared to insure the production oi a superior article, which will
be tmiform. reliaole and easily manipulated.

It has NO JOINS OR SEAMS, in rolls of an)^ length. The Standard Rolls are
wound in such a manner as to admit of their being used in both makes of roll-
holders.

The daylight loading rolls are adapted for use, not only in the Buckeye
Cameras, but the other daylight-loading cameras copied after the same prin-
ciple.

STANDARD ROLLS.

RRICI

L-ISX.

WIDTH.

4X
4^

5
5

7X
1%
8
8

ins.

LENGTH.

io8 ins.

215 ••

90 '*

180 "

130 ••

255 •*

135 •*

265 "

170 -

335 "

180 •*

355 •*

105 "

205 *•

218 ♦•

435 •*

128 **

255 *•

255 "

505 '*

EQUAL TO following EXPOSURES.

i40

I 22

I 80

148

25
50
25
50
25
50
25
50

t'A

6>^

8
8

4>r

5>^ or 20

SH or 40

tyi ..

6>4

4 or 25
4 or 50
4

4 ....

8>i

6>^

7 or 22
7 or 44

PRICE.

$1.00
2.00
1. 00
2.00

4.00

2.50
5.00
3.00
6.00
2.00
4.00
4.00
8.00
3.25
6.50
6.00
12.00

DAYLIQHT-LOADINQ ROLLS.

12 Exposures, 3^ x 3>^ 60 cents.

12 *• 4 x5 POcenta.

Special quotations given on application for special widths and lengths.
Order of your dealer, but if he cannot promptly supply you, send direct to the
Film Works of THE AHERICAN CAMERA flFQ. CO., Rochester, N. Y.^ or

E. & H. T. ANTHONY & CO., Trade Agents,

591 Broadway, NEW YORK;

45-47-49 East Randolph Street, CHICAQO,

Digitized by

Google I

The Rair

SIXTH ana RACE STS.

aNCIWNATI, OHIO

Carry a complete line of photographic supplies for
b oth Amateur and Professional. ._ . . .

MaUorde^especis/ly solicited i^ END FOR CATALOaUE

Prompt attention assured O .._. w

Get a Camera That is a Camera.

KODAKS,

PREMOS,

MONTAUKS,

ADLAKES,

CYCLONES,

Are Guaranteed to Us, We Guarantee them to You.

HEADQUARTERSTORFOREIGITCAMERA SPECIALTIES.
ADAMS (London), Bfilliant View Finden

VOIGTLAENDER and SOHN, (Bratinschweigf,)

COLUNEAR LENSES*

AND SOLE WESTERN AGENT FOR

FACET'S PRIZE LANTERN SLIDE PLATES,

Catalog: and Booklets for the asking.

I7OR a dozen years^^^.^^-^

The Gill
Engraving Company

has set the pace in making: half-tones« The fact that a plate is
made by us means that it is the best procof able«

THE GILL ENGRAVING COMPANY,

J04 Chambers Stt New York*

Digitized by

Google

Almost Any Camera

liifl'p'Pf *Af|r-

IV-^

at Half Price.

Our business is the buying, selling, and exchanging of all
good sorts of Photographic Supplies. We do not handle trash.

We will buy your camera, if it is a good one in good condi-
tion. We can sell almost any camera you name (that is worth
having) at from a quarter to a half less than its retail price. Not
necesF .rily a second-hand one, either.

The Eastman Kodak Co.,
the Rochester Camera Co.,
Rochester Optical Co., Su-
nart Camera Co., any New
York wholesale photographic
dealer, or Dun or Brad-
street, will tell you whether
we are worthy of your confi-
dence.

Send a 2 cent stamp
for our Bargain List.

The Camera Exchanae,

114 Fulton Street, - - - New York City.

\ 41 Fulton Street

BRANCHES:]

56 East 23d St.
58

Digitized by

Google

ALBUMEN PAPER.

N.P.A.

CUHITB^ PINK* PEAl^Ii, PB]4SB.

WITHOUT BXCBPTION

THE BEST IN THE flARKET.

AU Paper Used for this Brand is Made EXCLUSIVELY FOR US»
and is Readily Distinguished by the

WATER-MARK N. P. A.

Look oat for the Registered Trade-Mark.

^ N.P.A. '^^

DRESDEN.

Though UNEXCELLED IN QUAUTY, its Price is no Higher
than any other First-Qass Albumen Paper.

PRICES SENT ON APPUCATION.

Sol« Importers:

E. & H. T. ANTHONY & CO.

591 Broadway, New York; 45-47-49 East Randolph St., Chicago.

Digitized by

Google

THE

JIariboroagh Camera.

''J\ Perfect

model
of mgeKNity;

KOR

Hand and
Tripod Use.

For Wide Angle and R R. Lenses.

Has Reversing;, Self-Adjusting; Spring; Swing-Back;
Rising, Falling and Swing Front; and is handsomely
finished in Leather*

SEND FOR ''MARLBOROUGH BOOKLET/'

Prices, Including Two Double Holders.

8 X lo. including two Marlbor- '5x7, including Rapid Rectili-

ough Holders with Rubber I near Lens, B. & L. Pneu-

Slides $25 .00 I matic Shutter Release Dia-

6^ X 8)^, including two Marl- 1 phragm Shutter, and two

borough Holders with Rub- j Marlborough Holders with

ber Slides 23 . 00 I Rubber Slides $35 . 00

E & R T. ANTHONY & CO.,

591 Broadway, New York; 45-47-49 East Randolph St., CUcaco.

Digitized by

Google

Where are You}

There are three classes of photographers :

There is he who mounts a beautiful print on a
poor card.

There is he who mounts a poor print on a fine
card.

There is he who mounts a good print on a good
card.

The first is foolish, because his fine print will be
totally ruined by the bad card. The second
is shrewd, because he knows that a poor print
is made over by a good card. But the third is
truly wise, because he knows that a fine print
on a fine card constitutes the perfection of fine
photography.

If your prints are fine, Collins' card mounts
will crown them. If they aren't so good as
you would like, they will transform them.

All the stock houses know about us.

A. M. Collins Mfg. Co.,

Sitsumfadarers of 'Photographic Cards,
527 e4rch Street,

"Philadelphia, Pa.

Digitized by

Google

Wm. p. Sleight. Juuen Nelson.

The Sleight & Nelson Co^

PHOTO ENGRAVERS,

HalHone and line photoengraving
for all printinsf purposes* « * • *

73 Warren Stfcet^
MT. VERNON, N. Y. NEW YORK CITY.

Ascot Folding. No. 23.

HANDSOME. PRACTICAL. MODERN.

For 4x5 plates or cartridge films. It is a
handsome camera, finished in mahogany,
neatly covered with black leather, with strap
handle, fitted with a single lens and shutter
within the front, adjusted to either time or
instantaneous exposures at different speeds,
measuring only 6Ji x sfj x 4^ inches. It is
without swing, and is fitted with a pull focus
and locking device ; it has a rising and falling
front board and a brilliant view finder ; it is fitted with two tripod plates,
making possible either upright or horizontal pictures, and is so arranged that
the ground-glass may be removed and a cartridge roll holder substituted
therefor. Two extra double holders may be carried in the back of this camera.

Price, including one Double Holder $10.00

Extra Plate Holders, each i .00

Cartridge Roll Holder, empty 5.00

E. & H. T. ANTHONY & CO., New York and Chicago.
^[^lE Lessons in Photogr aphy^

Latest and most Complete.
Price, 50 cents^

For sale by all dealers^ or
by the Author.

O. W- HODGES, J33 Wabash Ave-, Chicago.

Digitized by

Google

every requirement of the
photographer as to speed,
brilliancy, clearness, ease
of working, and fine print-
ing quality, the New York
plates give complete sat-
isfaction.

Record Brandy Quickest,

Ne^w Harvard Brand, medium.

Crescent Brand, siow.

Sold by all first-class dealers.

\2m:

^i^

^::^

-NEW YORK DRY PLATE CO., ^-

OUTTENBERO, N. J. U. 5. A

Digitized by

Google

The Ideal Ray Filter.

For cloud effects and color values it is unequaled. It
can instantly be adjusted and attached to any 4x5 or 5 x 7
Folding Camera. It is a i>erfect optical instrument, com-
. posed of two optically plain glasses, coated with a yellow
film spectroscopically tested and firmly cemented together
and handsomely mounted in a nickel-plated holder.
PRICES.

No. 1.— For Unicum, Victor or Smaller Shutters $1.00

No. 3.— For Shutters iH in. Dia., " *' x.oo

Other sizes up to 3 in. Dia. Write for prices.

Tbe Ideal Enlarging and Copying Lens

For Copying and Enlarging with Short-Bellows

Cameras.
The Enlarging and Copying Lens is simply slipped
over the hood of the lens in the camera, which practically
makes it along focus instrument. Enlarging can be done
with any Premo, Poco or any other folding hand camera,
4 X 5 or 5 X 7.

PRICB5:

No. I.— I A **!• Dia-. for 4x5 Folding Cameras $i.5o

No. a. — " " •* 5 X 7 " " 1.50

No. 3.-1^ in. " "4x5 '* "' i-So

No. 4.— *' '* ** 5 X 7 ** *' 1.50

THE IDEAL PORTRAIT LENS.

For Making Large and Clear Portraits with Short-Bellows Cameras. Applied the same
as the Enlarging and Copying Lens.

PRICES.

No. X.— lA J^' Dia., for 4 x 5 Folding Cameras $1.50

No. a.— •* ** ** 5 X 7 " '* 150

No. 3.-1^ in. ** "4x5 " " 1.50

No. 4.— " '• •'5x7 " *' 1.50

FOR SALE BY ALL DEALERS. .

Autotone Matt Paper

(REQUIRES NO TONING).

This is not a gelatine or collodion paper, consequently can be handled by all dealers.
It is the most simple paper to manipulate on the market. It possesses a great variety of
tones, ranging between a light sepia and a deep platinum. This paper tones while print-
ing: all that is required is fixing in hypo. It is the peer of printing out papers. It wul not
curl or crack, requires no hardening ; it is simple to operate, and is a great saver of time

and money, as it requires no toning^. The results obtained are permanent,
its price and utility will commend it to the amateur photographer.

RRIOEIS.

2^ X 2}^, 2 doz. in pkge $0.12

3}4 X 3^» 2

We feel sure

3X X 4X. 2
4X X 4X. 2

4 X 5 , 2
3ji X 5X. 2

5 X 7 , I

.16
.18
.20
.20
.25
.20

per half gross pkge $0.30

" 40

•* 50

' • " 50

*' 90

For larger sizes send for particulars. Send for our 'gg Catalogue.

burke: & JAMEIS. IV/lsnufactur<
109-111 Wabash Avenue, CHICAGO.

►r»,

Digitized by

Google

HALF

TONES

THAT

YIELD

FINE

PRINTS

DIFFICULT

SUBJECTS

AND

MECHANICAL

WORK

OUR

PLEASURE

WRITE FOR SAMPLES AND ESTIMATES

Ascot Folding, No. 29.

For 4x5 plates or cartridge roll films: Is
handsomely finished in mahogany, neatly
covered with black grained leather with strap
handle, the outside dimensions of the box be-
ing 6^ X 5^ X 4^ ius. It is provided with
spring-actuated ground-glass, closed by hinged
panel in the back, and is adapted to the use of
either cartridge roll films or plates. It is fitted
with a single lens and Unicum shutter, having
retarding device, adjusted to time or instan-
taneous exposures at varying speeds. It is
provided with a single swing and pull focus with locking attachment, and
is fitted with a brilliant view finder and two tripod plates, for either vertical
or horizontal pictures. It has a sliding and rising front and a space for
two extra holders behind the ground-glass.

Price, including one Double Holder $15.00

Extra Plate Holders, each i .00

Cartridge Roll Holder, empty 5 .00

E. & H. T. ANTHONY & CO.,

HBW YOI^K and CHICAGO.

M. EI. DANFORTH,

...Manufacturer, Jobber and Dealer in...

All Kinds of Photographic Supplies^

My two SPECfALTIKS are •

Danfoirth's ** Perfection ^ Rapid Rectilinear Lens,
Danforth's ^ Perfection ^ Wide Angfle Lens*

ORDERS FILLED PROMPTLY — NO SUBSTITUTION.

nS SOUTH JEFFERSON AVEL, SAGINAV, MICH.
65

Digitized by

Google

CHAS. COOPER & CO.

(Established 1857)

Mdnufdcturing ^hemists

194 WORTH STREET, NEW YORK

meimaimractiire:

Com'l and Chem. Pure Acids^ Sulphite Soda, Crystals and Granular,

Acid Sulphite Soda Solution, Nitrate Silver, Chemically Pure,

Chloride Gold, Litmus Paper, Cone. Sulphuric Ether.

Anhydrous and Aqua Ammonia.

Bromo-Oxygen Disinfectant, U. S. P., a most efficient disinfectant and
deodorizer; can be diluted with 32 parts of water. And a full line of Chemicals,
Photographic, Medicinal, and for the Arts and Technical purposes.

SOLUBLE COTTON, AHYL ACETATE AND
EXTRA REFINED WOOD ALCOHOL

Monthly ^Price-List Issued.— ^^^=^
#=-=^=--.-^=^€/rn€r5 of Thoto Waste.

rUmufacturers of the Columbian System of Chemical Fire ExtlnguUhers
^ and Chemicals for same.

Digitized by

Google

The only completely corrected
Anastigmats are the

■»!»

GOERZ

Double Anastigmats^

As they cover at full opening
sharply up to the Circle of Lights
as no other lens does, j* J*
They excel all other makes in

Sjpeed, Definition, Even lUamination, and Depth of poens

and are therefore the best land-
scape^ portrait^ and wide-angle
lenses.

TRY THE NEW GOERZ SECTOR SHUTTER.

Ask for catalogriie and Test Chart f^om your Dealer or from
the Manufacturer

e. p. GOERZ.

62 East Union Sqaafe, {SlEW VOI^K-

WORKS: BERLIN, GERMANY.

Digitized by

Google

JT NFINISHEO! !

A PRINT— UNLESS IT HAS BEEN THROUGH AN

Entrekin
Patent Improved
Rotary Burnisher

These Burnishers are especially adapted to burnishing, prints made
on the

AMERICAN "ARISTO" PAPER

Your supply house will send you descriptive pamphlet.

The Cheapest and Best Machines now in the Market

PRICES :

8-inch Roll. . .$12.00 I lo-inch Roll, light. .$15.00 I lo-inch Roll, heavy, fas.co
1 5 inch Roll. . . 30.00 | 20-inch Roll 40.00 | 25-inch Roll 5S-<x>

E. & H. T. Anthony & Co., sole Agents.

59 1 Broadway, New York ; 45-47-49 East Randolph St. Chicago.

Digitized by

GoQi

New York
Studio Outfit

The Best on
the riarket.

8xJ0
Mahogany Portrait Gtmera*

One Benster
Holder.

Anthc»iy^s

Automatic Cabinet

Attachment*

One Curtain Slide

Holder*

No. I New York
Camera Stand.

Holder Rack, made

to Carry Twelve

Holders.

Rrico: 8 x iO Outfit, $45. OO
II X 14 •* 70.00

ALL HOLDERS NOW FITTED WITH CURTAIN SLIDES.

Manufactured by

E. & H. T. ANTHONY & CO., New York & Chicago.

Digitized by

Google

Standdra PbctograpMc PuNications

Published by or obtainable through

£ & a T. ANTHONY & CO-,
59i Broadway, New York*
45-47-49 E: Ran<folph St^ Chicago*

WE CARRY A FULL LINE OF THE MOST MODERN PHOTOGRAPHIC TEXT-BOOKS.
ANY BOOK, EITHER DOMESTIC OR FOREIGN, MAY BE ORDERED THROUGH US,
OUR EXTENSIVE CONNECTION GUARANTEEING PROMPT SERVICE.

FOR THE BEGINNER.

No. 5. The Ferrotype and How to Make It. By E. M. Estabrooke.
Clothbound, 176 pp., i2mo. This is the standard work on this subject, and
will be read with profit by all who desire to make ferrotypes. Plainly worded
and well illustrated. Price $1.00, postage, 7 cts.

No. 9. Burton's Modem Photography. New edition. By W. K.
Burton, C. E. Paper, 126 pp. A splendid oook for all who desire to learn
photography thoroughly. The various processes are described in a complete
yet simple manner. Price 35 cts., postage 6 cts.

' No. IJ. How to Make Photographs. By T. C. Roche. Edited by
E. Anthony. Revised and brought up to date by various authorities. Pro-
fusely illustrated. This handbook is a*bsolutely indispensable to both beginner
and expert. The best, most comprehensive and reliable work published. No
matter how many books you may have, ^^^our library is incomplete without a
copy of this book. Price, paper covers, 50 cts., postage 6cts. ; cloth covers,
75 cts., postage 6 cts.

No. 32. Photography for All. By W. Jerome Harrison, F.G.S. i 12 pp. ,
i2mo. Illustrated. An elementary text-lx)ok in which the various processes
and theories are simply explained. Price, paper, 25 cts., postage 3 cts.

No. 35. Dictionary of Photography. By E. J. Wall. A most valu-
able book of reference, containing concise and explanatory articles on almost
every subject in photography. Useful to both amateur and professional.
Printed on heavy coated wood cut paper, 240 pp. , handsomely bound in cloth.
Price $1.50, postage lo cts.

First Step In Photography. By F. Dundas Todd, A practical aid to
the beginner in photography. In paper covers. Price 25 cts., postage 2 cts.

Second Step In Photography. By F. Dundas Todd. A thoroughly
practical handbook for the amateur photographer. In paper covers. Price
50 cts. , postage j cts.

Amateur Photographer's Handbook. By Arthur Ho^e. A manual
of instruction for the amateur. Contains over two hundred pages of useful
information for the amateur, with diagrams and illustrations. Price 75 cts.,
postage 6 cts.

Artistic Landscape Photography. By A. H. Wall. A series of
chapters on the practical and theoretical principles of pictorial composition.
With numerous illustrations. Price $1.50, postage 8 cts.

Burton's Manual of Photography. By W. K. BuRtoN, C.£. A prac-
tical handbook for all who are taking up photography, and exquisite guide to
all photographic manipulations. Pnce, paper covers, 50 cts., postage 4 cts.

The Camera and its Appurtenances. By H. J. L. J. Masse. A com-
plete guide to the various appurtenances pertaining to negative making, tlieir
uses, etc. Price 25 cts., postage 2 cts.

The Dark-Room and its Equipment. By H. J. L. J. Masss. Give^ "
full information regarding dark-room appurtenances. Full of useful hintsL
Price 25 cts., postage 2 cts. "^

70 J^

Digitized by GoOgle-.g

Developers: Their Uses and Abuses. By Richard Penlake. A
handbook of development and developers. Price 25 cts. , postage 2 cts.

Indoor Photography and Flashlight Studies of Child 5ubfects. By

Bertha M. Lothrop. Contains over twenty half-tone illustrations. A treatise
on flashlight and kindred indoor photography. Price 25 cts., postage 2 cts.

instantaaeous Photography. By Capt. W. de W. Abney. A handbook
of practical information on shutter exposures. Price 60 cts. , postage 3 cts.

Drop Shutter Photography. By Fred. W. Pilditch. Twenty-two
half-tone illustrations. A guide to shutter photography in all its phases.
Price 25 cts. , postage 2 cts.

ON PRINTINQ.

No. 33. Carbon Printing. By Max Boelte. Contains explicit instruc-
tions for the working of this beautiful process. Prints may be obtained in any
color by the carbon process. Price, paper, 50 cts,, postage 2 cts.
A The <« A B C " Guide to the flaking of Autotype Prints in Permanent

Pigments. By J. R. Sawyer. Gives full details of the various processes
necessary for making carbon prints. Bound in cloth and excellently illus-
trated. Price $1.00, postage 5 cts.

Bromide i^aper. Instructions for Contact Printing and Enlarging. By
Dr. E. A. Just. With Bromide Paper Frontispiece, and more than thirty
illustrations in the text. New edition. 156 pp. Price 75 cts., postage 5 cts.

Bromide Enlargements and How to Make Them. By J. Pike. A
Capital Treatise on the Subject of Bromide Enlarging. Price 25 cts., postage
2 cts.

Platlnotype, Its Preparation and ilanipulation. By Capt. W. db W.
Abney and Lyonel Clark. Original English edition. An exhaustive
description of the platinum printing process. Price $1.25.

ON RETOUCHING.

No. 6. The Art of Retouching. By L Ourdan. Illustrated with litho-
graphed drawings, and heliotypes. A thoroughly reliable g^ide. Cloth.
Price $1.00, postage 6 cts.

The ABC of Retouching. By Andrew Young. With examples of both
portrait and landscape retouching, and a guide to the anatomy of expression.
Price 25 cts., postage 2 cts.

THE MAGIC LANTERN.

No. 19. The Magic Lantern and its Applications. Bv L. H. Lavdy,
Ph.D. 8vo. A very complete handbook for the lantern enthusiast. Cloth.
Price $1.00, postage 9 cts.

Lantern Slides, How to Make and Color Them. Illustrated. By D. L.
Elmendorf. a thoroughly practical treatise on lantern slide making. Hand-
somely bound in cloth. Price $1.00, postage 5 cts.

PHOTO-MICROGRAPHY.

No. 18. How to Photograph ilicroscopic Objects. By I. H. Jennings.
The best practical treatise on the subject. Well illustrated. Good for begin-
ner and expert. Cloth. Price 75 cts., postage 4 cts.

No. 3o. Photography Applied to the nicroscope. By P. M. Mills.
With a chapter on mounting objects for the microscope by J. Charters White.
Illustrated with half-tone plates and woodcuts. Price $t.oo, postage 6 cts.

ON PROCESS WORK.

Photo-Engraving, Photo-Etching, and Photo-Lithography. By W. T.

Wilkinson. Revised and enlarged by Edward L. Wilson, Ph.D. Illustrated.
180 pp., all new. Only American edition. Cloth-bound. Price $3.00, post-
age 14 cts.

The Half -Tone Process. A practical manual of photo-engraving in half-
tone on zinc and copper. By Julius Verfasser. Price, cloth, $1.00, postage 6c.

I Digitized by Google

Anderson's Photo- Mechanical Processes and Guide to Color Worlc.

A practical handbook. Copiously illustrated. Gives working details for zinc
etching, half-tone, and all the photo-reproduction processes. In flexible
leather cover. Price $5.00, postage 7 cts.

A Handbook of Illustration. By A. Horsley Hin ton. An exhaustive
treatise on reproduction methods and the preparation of originals for repro-
duction. Fully illustrated. 120 pp. Cloth-bound. Price $1.50, postage 9 cts.

OTHER STANDARD WORKS.

No. 24, Pictures in Black and White. By George Mason ("Mark
Oute"). A racy collection of historical sketches. A capital book, full of genuine
humor and very instructive. i2mo. 188 pp. Illustrated. Paper. Price 25
cts., postage 5 cts.

No. 36. The Chemistry of Photography. By Raphael Meldola.
F.R.S., Professor of Chemistry at the Technical College, Finsbury, London.
Crown 8vo. Cloth. Price $2.00, postage 11 cts.

Wilson's Cyclopaedic Photography. The most comprehensive photo-
graphic dictionary ever published. A complete handbook of the terms, for-
mulas, processes, apparatus, and applications of photography. Cloth. Price
$4.00, postage 23 cts.

Wilson's Quarter Century of Photography. By Edward L. Wilson,
Ph.D. ''The best of everything boiled out from all sources." Profusely
illustrated, and with notes and elaborate index. Price $4.00, postage 23 cts.

WilsonJ^s Photoj:raphics. ** Chautauqua Edition." With Appendix. By

Covers
20 cts.

Crayon Portraiture. By J. A. Barhydt. Complete instructions ^or
making crayon portraits on crayon paper and on platinum, silver and bromide
enlargements. Also directions for the use of transparent water-colors and the
making of French crystals. Price, paper, 50 cts., postage 7 cts.; cloth $1.00,
postage 10 cts.

Artistic Lighting. By James Inglis, with chapters on •*At Home"
Portraiture by Daylight and Flashlight, by F. Dundas Todd. Price, $1.00,
postage 4 cts.

The Art of Making Pictures in Crayon on Solar Enlargements. By
E. Long. Third edition, revised. Price $1.00, postage 3 cts.

The Reducer's flanual and Qold and Silver Worker's Guide. By Vic-
tor C. Bloede. Second edition. Price 25 cts., postage 6 cts.

The Lighting in Photographic Studios. By P. C. Duchochois. Price
75 cts., postage 3 cts.

Practical Essays on Art. By John Burnett. Containing 130 illustra-
tions, including examples from many of the old masters. Price, cloth, $1.00,
postage, 10 cts.

Elements of a Pictorial Photograph. By H. P. Robinson. With 37 .
illustrations and frontispiece. Price $1.50, postage 8 cents.

The Photographic Studio. By T. Bolas A guide to its construction,
design, and selection of a locality. Illustrated by diagrams, etc. Cloth.
Price $1.00, postage 4 cts.

BOOKS IN LANQUAQES OTHER THAN ENGLISH.

No. 3. El Rayo Solar (Spanish). The only reliable treatise on the art
of photography in the Spanish language. Revised and brought up to date.
8vo, 580 pp. Fine toned paper. Cloth. Price $6.00, postage 21 cts.

No. i3. La Fotograria hecha facil. The Spanish edition of ** How to
Make Photog^raphs." Revised and enlarged. Illustrated. Cloth. Price
$1.00, postage 5 cts.

No. 17. Como fazer Photographias. The Portuguese edition of '* How
to Make Photographs." Cloth. Price $1.00, postage 5 cts.

Digitized by

Google

Iki

ELECTRIC PHOTOGRAPHY, For studio work

BY THE

A (Anthony) (J (Clinedinst) X (Thompson) SyStOHl

Skyllffhts Superseded. Ground Floor Galleries now Available.
Pull-Timed Exposures made In from One to Two Seconds.

ELECTRIC PHOTOGRAPHY is now an assured success by reason of the combined
forces above mentioned having settled their differences with a view to^ving: to the
public the best possible service. Messrs. A. T. THOMPSON & CO., of Boston, have
Deen manufacturing what is generally conceded to be the best form of lamp for this

gurpose, but have been unable to bring it prominently before the public on account of the
linedinst patent of July 24, i8g4- These difficulties, however, have now been overcome
by Messrs. Thompson & Co. having acknowledged the validity of said patent and paid
for licenses for those sold by them; and B. A H. T. Anthony A Co. have been appointed
sole trade agents for the sale of Messrs. Thompson & Co.'% most excellent lamps for use
under the Clinedinst patent for

Artistic Portraiture by Artificial Liglit in tlie Stndio.

Ci]

h
Z
u
h
<
0.

A io,ooo"C«ndle-Power lamp will now be furnished for $150.00, the same price formerly
charged for one of only s.ooocandle power, giving sufficient illumination to make Plnt-
CIsM Negatives in from one to two seconds^ exposure.

E. & H. T. ANTHONY & CO.,

SOLE TRADE AGENTS.

591 Broadway, New York. 45-47-49 E. Randolpli St., CIiicas:o.

Digitized by

Google

G.Gennert's praii

Cameras..

Handsomely polished and finished* Work with ease^ and are
an ornament to the Studio* Send for Price List*

ROSS' PORTRAIT LENSES.

EVERYTHING has
its place* ^ ^ J^
A Portrait lens is wanted
for portrait work^if speedy
softness, roundness, and
brilliant work are to be
done* You cannot tsse
a View Lens for portrait
work, or vice versa, but
there's nothing: to eqtial

ROSS III. RAPID CABINET LENS.

ROSS III. FOR 6^x8!^ aad 8x10 HEADS aad BUSTS.
CATALOGUE FREE.

G. GENNERT.

24-26 EAST 13th 5TRHET,
NEW YORK.

Digitized by

Google

M0NTftUK ...

I m i I mmi0m

HAND CAMERAS,

4x5.

Style I $30.00

Style II. A 22. 50

Style II. B 20.00

Style III 15.00

Cycle 1 28.00

Cycle II. A 22. 50

Cycle III., Longfocus 18.00

R. B. Longfocus 37- 50

Twin Lens 65.00

Stereo

Junior 3X x 4, 5.00;

4x5

55^7.
$40.00
30.00
25.00
22.00
38.00
30.00
25.00
45.00
80.00
70.00
7.00

6% X 8Ji.
$50.00

8 z 10.
$60.00

60 00

70.

.,JiND THE FAMOUS...

Gray Day Montauks

PRICE LIST FREE.

G. GENNERT.

24-26 EAST 13th ST.,
NEW YORK.

Digitized by

Google

"ADUROb"

HAUFF

SGHERING

PHOTOGRAPHERS wiU be pleased to
learn of this new density ^ent^ whidv
used alcme or in connecticm with
HAUFF'S CELEBRATED NETOL, gives results
far superior to the old favorite '* Hydrochincme*''
Of additional interest is the fact that " ADUROL ''
gives a finer grain^ and is not influenced by low
temperature*

A trial will finally convince you that this
joint product of the celebrated chemical houses of
J* Hauff & G)* and the Schering G)* is no vain
impostor^ but rather

A NEW and MERITORIOUS
DEVELOPER.....

A Sample

Ounce with

formnlaB

by mail

60 cents.

G. GENNERT.

Sole American Agent*
24-26 EAST 13th ST..

NEW YORK.

Digitized by

Google

A Method

For Fixing ! Simple enough. A
dozen plates of a large size, or
twenty of a small size, in a com-
pact tank of good indestructible
rubber. :: :: :: ::

THAT'S OUR METHOD.

No. i.-For 3X X 4X, 4X X 6^, 6>^ X 8^ $4.50

No. 2. — For 4x5, 5x7, 8 X 10 5.00

^WE CALL rr^

Gennert's Universal

Hypo Box

^^WA*»»#'»»V 1 _

CLEANLINESS

IS NEXT
TO

GODLINESS.

Dry Plates appreciate this
truth as much as man. A good
Negative is worth good, con-
5^ scientious washing; you can't
do it in a tray ; you can in a

Gcnnert^s
Perfection
Washing Box^

(Patented.)

No. I.— For 3X X 4X» 4X X 6>^. 6^ X 8>^ $2.00

No. 2. — For 4x5, 5 X 7, 8 X 10 2.25

G. GENNERT.

24-26 EAST 13th STREET,
NEW YORK.

Digitized by

Google

The Duplex Negative Rack.

PATENT APPLIED FOR.

For Negatives of Any Size.

Combines a large and small rack in one, and may be used for negatives
varying from 8 x lo, or larger, to 2>^ x 2^.

When not in use, it folds into small space, and may be hung on the wall
of the darkroom out of the way.

Price,

50 cents each.

E. & H. T. ANTHONY & CO,,

591 Broadway, New York; 45-47-49 East Randolph St., Chicago.

Fo*^ Studio

Work

The No. 5

Low Compound

Shatter

IS UNEQUALED.

PRICES :

lU-ln. opeaiDfc, 8 inches square, $4.00
ig '• •• m " 4.00

2 ♦' 4 " 4.80

4.S0
4.50
500
5.60
6.00
6.60
7.0a

For Sale by all Dealers.

Digitized by

Google

WHITENS

Photographic
Speqalties . . .

FOR PERFECTION IN POSING
AND LIGHTING IN THE STUDIO

Strictly of the highest grade of pattern,
workmanship and material.

By a Systematic Application of the...

O. C WHITE
PATENTED BALL AND
SOCKET JOINT^— :

Instant adjustment and fixation in any desired position is obtainable.

WHITE'S New Style Posing Chair. — Neat and attractive in appearance.
Capable of an endless variety of combinations. Adapted to persons of
all sizes, from infants to adults.

WHITE'S Improved Posing Supports.— Great range of adjustment. Two
styles.

WHITE'S Improved Photographic Chair Head Rests.— For attachment to
chairs or furniture. Will follow the head to all positions, and is instant-
ly secured by a single touch.

WHITE'S Baby Holder. — For posing infants so as to display draperies or in
scenic effects without showing any of the supporting means.

WHITE'5 Improved Photographic Head Screens and Side Shades.—

Three styles. Side shades square, oval or round. Instant adjustment
to any position.

A system of interchangeability is carried throughout the Appliances, per-
mitting quick combinations for every conceivable studio requirement.

AMPLY PROTECTED BY NUMEROUS PATENTS.
a\a/arde:d — ^

QOLD riEDAL, Massachusetts Charitable Mechanic Association, Boston, 1884.

SILVER MEDAL, Photographers' Association of America, 1888.

JOHN SCOTT HEDAL AND PREHlUn, Franklin Institute, Philadelphia, ''a.

riEDAL AND DIPLOMA, Wiesbaden, Germany, 18)1.

HONORABLE DISTINCTION, Geneva, Switzerland. 1893.

THREE MEDALS AND AWARDS, World's Fair, Chicago, X893.

SILVER riEDAL, Massachusetts Charitable Mechanic Association, Boston, 1895.

Send for dtalo^ue* For sale by all leading dealers.

OTIS C. WHITE, Worcester, Hass., U. S. A-

Digitized by

Google

Wc arc making

the finest

Write for ^ See Samples in

Samples. Half 1 OIICS this work.

at 10 cents per square inch*

Electric City Engraving Co.,

507'S13 Washington St., Buffalo, N. Y.

Ascot Folding Camera, No. 8T.

For 4x5 plates or cartridge roll films. Is
similar in general style and construction to the
best of the cameras in the Ascotsenes, occupy-
ing a space of 6Ji x sH ^ 4}i i°- when folded,
and is fitted with rapid rectilinear lens and
Unicum shutter, having retarding device, ad-
justed to either time or instantaneous ex-
posures at varying speeds, and is provided
with a double swing, and rack and pinion
movement for focusing. It has also a brilliant
view finder and two tripod plates, and is fitted with spring-actuated gpround
glass, closed by a hinged panel in the back ; has rising and sliding frontboard,
and a space for two extra holders behind the ground glass. This camera is
adapted to the use of either cartridge roll films or plates.

Price, including one Double Holder $30 00

Extra Plate Holders, each i 00

Cartridge Roll Holders, empty 5 00

E. & H. T. ANTHONY & CO.,

HEW YOl^K and CHICAGO.

Platino ^J'omide 8022

f^ . j_ i^ Wentworth Ave.,

F rint LO. ^ Chicago, 111.

Bromide Prints for the Trade*

Write for Price List. V. C. HOOSEI^.

Digitized by

Google

FOR DULL DAYS,

It's all in the Lens

FOR BRIGHT DATS.

Series VI.— -Long Focus,
fitted with Convertible
Lens, Reversible Rack,
Double Swing Back,
Double Sliding Front.
Front and B^k Rack
and Pinion, Automatic
Shutter. 4x5 to 8 x 10,
$40.00 to $150 00.

The Most Complete Long
Focus Camera on the Market.

Korona (Cameras

Can Be Used Erery Day in tbe Tear.

Cycle Cameras

From $7.00 to $57.00.

Semes II. B. — 4 z s, $10.00

Turner-Reich Con-
vertible Anastigmat
Lenses-F r.s.

SEND FOR...
CATALOGUE

The

Qundlach

Optical

Co.,

Rochester,

N. Y.

FOR MAT.

FOR DECEMBER.

Digitized by

Google

VELOX is the ideal Printing Paper -* -*

VELOX can be printed by daylight ^ -*

VELOX can be printed by gaslight •* •*

VcLUX can be printed by lamplight * -*
VcLUX can be developed in full gaslight

VcLUX gives soft artistic effects w* jt w*

VLLUX keeps good for years ^ ^ s ^

VcLUX gives permanent prints ^ * >*

VcLUX for quality '* <* ^ ^ ^ >* <^

VcLUX for uniformity >*>*■*<** ^

VcLUX can be had from all dealers ^ -*
VcLUX IS manufactured by The Nepcra

Chemical Co., Nepcra Park, N. Y.

OnUr from your dealer, tsvi
il he will not supply yoo, WE viH.
Refuse to accept Velox except In
orifirul packifei bearing our tradourk.

Chicago OfBcc:
35-37 East RaiidcJph Street.

^;:;$v

Digitized by

Google

[iaajEN^BKo^ iMMM

.^I^^^^M^HH^^I^H^^^H

jggECTRMgn|^^

t^^^mmmss^m

^^^^ty^EHH

Elmeiidorrs Camerti Slide Colors.

The only colors that will give satisfactory results for lantern-slide tinting. Put up
in concentrated form, each box containing ten bottles of color.

Colors.....

UOHT YBLLOW, BROWN, DARK YELLOW, MAROON, ORANOB,
BLUB No, Ir BLUB No, 2, ROSE, VERMILION, VIOLET,

PRICE.

No. I, $1.50 I No. 2 $2. so

EdtltCrn Slides^ nowtomakeandeolortbeM. (TiiutratML)

Br I>WIGHT LATIIROP IXMKNDORF.

A thoroughly practical treatise on Laiitern-Slide-Making, lucidly describing every
step, from the selection of the negative to mounting the slide. The chapter on color-
ing Lantern Slides is the only practical matter published on this subject.

CONTENTS.
Introduction. The Camera Method.

Chemicals and Apparatus Required. Diseases and Remedies.

The Contact Method. Testing Slides.

Coloring Slides.
Printed on heavy wood-cut paper and handsomely bound in cloth. Illustrated
with wood-cut and half-tone engravings.

E. & n. T, ANTHONY & CO., 46.47^49 ll^t' Randolph street. CHICAGO.

Digitized by

Google

CRAMER

Plates

♦♦♦

BANNER
CROWN

1 Slow

BOCHROMATICi Medium
^^-^r^-r^ Ar^^ (Instantaneous

CONTRAST
TRANSPARENCY
STRIPPING
NON-HALATION
X i?AV ^

Unsurpassed in quality and ease of manipulation.

FULL DESCRIPTIVE CATALOGUE 5ENT TO ANY
ADDRESS UPON APPLICATION.

NEW YORK DEPOT: 32 East 10th St

G. GHAPR DRY PMTE GO.,

ST. I-OUIS. MO.

Digitized by

Google

Ascot Folding Camera, No. 38.

For 5x7 plates or cartridge roll
films. Is similar in general style and
construction to the best of the
cameras in the Ascot series, occuping
a space of 6Ji x sH ^ 4}^ in. when
folded, and is fittea with a rapid rec-
tilinear lens and Unicum shutter,
having retarding device, adjusted to
either time or instantaneous ex-
posures at varying speeds, and is pro-
vided with a double swing, and rack
and pinion movement for focusing.
It has also a brilliant view finder and
two tripod plates, and is fitted with
spring-actuated ground glass, closed
by a hinged panel in the back ; has
rising and sliding frontboard and a space for two extra holders behind the
ground glass. This camera is adapted to the use of either cartridge roll
films or plates.

Price, including one Double Holder, $38 00

Extra Plate Holders, each i 25

Cartridge Roll Holder, empty 6 50

E. & H. T. ANTHONY & CO.,

NEW VOI^K and CfllCnGO.

DARKR bOM LAMPS

IN GREAT VARIETY.

And at prices ranging from 40 cents to $6.00» and includ-
ing such well-known styles as the

ACME ELECTRIC RVBY,

ACME GAS BURNER,
HOLIDAY,

N. P. A.

STAN1>ARI> OIL,

E. A. POCKET,
TISnELL RX7BY

CANDLE,
CLIM.VX DARK-
ROOM,
HELIOS DARKROOM,
LITTLE GIANT RUBY,
MULTUM IN PARVO,

AXD THK

PERFECT DRY PLATE
LANTERN.

SUfkfafd OU Lamp,
PRICE, $1^0.

E. A. Pocket Ruby Lantern,
PRICE, 60 CENTS.

E. & H. T. ANTHONY & CO., New York and Chicago.

Digitized by

Google

The

Air Brush

Applies any liquid color b}^ a jet of air.
Works on an}^ surface. INVALU-
ABLE in every Photographic Studio,
producing effects in black and white,
or water color. Excellent retoucher.

The artist can produce the finest
line, and instantly change to a broad
shadow during a single stroke, show-
ing a finish that only years of toil can
equal by any other means.

Amateur photographers, monu-
mental designers, lithographers, etc.,
cannot afford to be without the great-
est time saving tool for busy artists.

Catalog free.

Air Brush Mfg. Co.,

J 05 Nassau Street,

Rockf ord, DL

Digitized by

Google

Do Your Own Developing and Printing ^

EA DEVELOPING AND,,,
♦ A* PRINTING OUTHTS

Are prepared with special reference to use with the smaller Hand Cameras,
and comprise the following assortment of trays, chemicals, etc. :

One Lamp. Three Developing Trays, one 2-oz. Measuring Glass, One
Printing Frame and Glass, Half Dozen Developing Powders, One Pound Hy-
posulphite Soda, One Dozen Sheets Ferro Prussiate Paper, One Dozen Rex
Card Mounts, One Paste Tube, One Package Bromide of Potassium, Instruc-
tion Book. All packed in paper box.

Price for 2>i x 2>^ plates $i-5o

** •* 3Xx3X *' I-50

•* *' 3^X4^ " 1.50

** " 3^X3>^ •• 1.50

" ••4 X5 - T.50

E & R T, ANTHONY & CO,,

591 Broadway. NEW YORK. 45-47-49 E. Randolph St, CHICAGO.

Olmsted's Lantern Slide Mat.

I-
O
111

tiffiMiferfi--

J'. >i ■'•■ !/; /I'M
?! [i?i ii!

ii I

o
o

Patented Dec. ag, i8g6.

E. & H. T. ANTHONY & CO.. New York and Chicago.

Digitized by

Google

USE THE.

HAMMER

DRY PLATES.

ABSOIiUTEIiY

^ UNIFORM AND CLEAN.

-TRADE MARK-

Hammer Retotichmg Varnish

Is THE Best fob Pine Retouching.

Hammer Eikoaogcn and Metoi Developcrs^

Ready for use, ahe the finest
Prepared Developers on the Market.

INCOMPARABIiE

For the STUDIO. For the HAND CAMERA.

NO FRILLING IN HOT WEATHER.

FOR SAXiE BY AliL. DEAXERS AT POPULiAR PRICES.

MANUFACTURED BY THE

Hammer Dry Plate Qo..

ST. LOUIS, MO.

Digitized by

Google

Digitized by

Google

3 2044 039 244 462

Digitized by

Google

f.-^

FA 9.33 (12) 1900

International Annual of AnthonY's

Photogra phic Bulletin

IS9UC0 TO

-« i

Digitized by

Google

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Texts

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "The International annual of Anthony's photographic bulletin and ..., Volume 12"

See other formats